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TITLE 1
TITLE 2
CERTIFICATE
DECLARATION
CONTENTS
ACKNOWLEDGEMENT
NOTE ON DOCUMENTATION
INTRODUCTION
I DIFFERENTIATING HISTORY AND POPULAR FICTION
A. Looking at History
1. The Image of the West-Running Brook
2. The lmage of the Selfish-Gene
3. The Symbol Manipulating Industries
4. The Displacement of Environments
5. The Writer as Jester
6. A Structured, Order of Things
7. Reading as a Means of Wish-Fulfilment
History in the age of revisionism
B. Towards Popular Fictlori: The Imagenerative Formations
The lmagenerative Formations
C. Reading: A Game of Recoveries.
II THE INTERFACE BETWEEN POPULAR FlCTlON ANDHISTORY
A. The Anatomy of an Acquittal
III MATRlX OF POPULAR FICTION
1. A Mirror upto the Middle Class
2. The Individual and the Universal
3. The Sense of Belonging to the Home
4. The Family: as a Symbol of Completeness
5. The Ideal of Patriotism
6. The Moses-Figure
7. Triumphing over Odds
8. A Case for Continuities
9. Empire-Building
10. Making of the Perfect Society
11. The Fear of the Enemy
12. The Struggle for Power
13. The Promethean-Figure
14. The Cult of the Individual
15. The Individual as a Non-Conformist,
16. Winning at Any Cost
17. The Voice of the First Person Pronoun
18. The Christening of the Hero
19. The Comic-Strip Logic
20. The Classical Idea of Excellence
21. Privileging of the Masculine Ideal
22. The Woman as an Object of Male Gratification
23. Worship of the Warrior
24. The Feminine Allure of War
25. The Personal and the Mythical
26. The Stant towards Generalities
27. Dictionary of Popular References
28. The Narrator-Character as the Insider
29. The
30. The Fictional Tempered with the Historical
31. Manipulation of the Pronominal Position
32. Shifting Locales
33. Persistence with the Straight Clironology
34. The Marketing of America
35. A Game of Chess
36. The carpe-diem Factor
37. The Society of the Colloquial
38. Mythology as a Narrative Sub-Text
39.The Hero: A Paragon of Virtues
40. Reiterating Popular Images to Mythify
41. The Tone of Impersonality
42. Allegorizing the Historical
43. The Significance of Numbers
44. The In-Weave of the Bible
45. Taking Sides
46. The David and Goliath Face-Off
47. Impressions from the Classics and the Fairy Tales
48. Yearning for the past
49. From the Pauper to the Prince
50. The Hand of Merlin
51. The Classics in the Western Canon
52. The Fear of a Frankenstein
53. The Latter Day Promised Land
54. Cultural Imperialism
55. The East-West Stand-Off
56. The Jews: The Chosen People
IV ISRAEL IN POPULAR FICTION: SEVEN APPROACHES
1. Sustainig Continuity in the Telling of History.
1.1 Memory and Continuity
1.2 Evasion of Chronological Specificities
1.3 Continuity through Chronological Specifics
1.4 The Continuity of Faith.
1.5 Interweaving the Biblical, the Historical and the Fictional
1.6 The Continuity of Culture
1.7 Celebrating Historical Milestones
1.8 Continuity through Reiteration.
1.9 Perceptions about the Jewlsh Races Uniqueness.
2. The Bible Seen as a Cornucopia of Historical References
2.1 The Bible is Living History.
2.2 The Bible is the Conscience of the Race.
2.3 As a Source of Inspiration.
2.4 The Voice of Prophecy.
2.5 Anthropomorphism
2.6 The Bible is the Childs Primary School
2.7 The Place for the Miraculous and the Improbable.
2.8 The Biblical Bridging the Historical and the Fictional
2.9 The Incremental Effect.
2.10 Allegorical Possibilltles.
3. The Tribes Need to Defend its Home-Territory.
3.1 The pleasures of following the underdog
3.2 The Tribal Impulse of Self-Preservation.
3.3 Tlie Idea of a Settled Home.
3.4 The Romance of War.
3.5. Home as a Geographical Concreteness
3.6 The Semiotic Equation between Home and the FeminineBody.
3.7 The Paradox of the Jewish Situation.
3.8 Sustaining the Imaginary Homeland.
3.9 The Difference between the Jews and the Arabs.
3.10 The Biblical Sanction.
3.11 The Arrival of the Leader.
3.12 America is the Other Promised 1, and.
4. The Cult of the Individual
4.1 The Profile of the Individual.
4.2 The Hero us a Superntan.
4.3 Superimposition: Using Historical Material
4.4 Superimposition: Using Literary Classics.
4.5 From Without tbe State: The Celebration of Prometheus.
4.6 From Within the State: The Image of Moses.
5. The Myth of David and Goliath
6. Calculated Xenophobia or the Hierarchy of Hate.
7. The Telling of the History in the Story.
7.1 Stoking the Readers Voyeuristic Impulse.
7.2 Following the Destiny of the Hero.
7.3 Naming the
7.4 The Principle of Iteration.
7.5 When the Line between Fact and Fiction is Fudged.
7.6 The Timely Diversions of the Novelist.
7.7 The Space for Sentimentality.
7.8 The Allure of the Fairy Tale.
7.9 The Mutuality of Interests.
7.10 The Get-Noticed Factor.
7.11 Caught between Shanny Bmakhloket and Tsorik Cyyun.
7.12 The Quiet Biases of the Novelists.
V CONCLUSION
The Matrix of Popular Flction
The David - Goliath Divide
READING FROM IMAGINARY HOMELAND TO GEOGRAPHICAL CONCRETENESS
SELECTED BIBLIOGRAPHY