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14. What are the various levels of rivalry in the novel, and what accounts for each level? |
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15. Discuss the war and the military as metaphors and, also, why this arena can serve as such a metaphor. |
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16. Outline the various perspectives on life and death and detail which characters represent each perspective. |
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Castelli, Jim. "Catch-22 and the New Hero." Catholic World. 211: 199-202. |
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Deniston, Constance. "The American Romance Parody," Emporia State Research Studies. 14, ii (1965): 42-59. |
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Doskow, Minna. "The Night Journey," Twentieth Century Literature. 12: 186-93. |
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French, Michael. "The American Novel in the Sixties," Midwest Quarterly. 9: 365-79. |
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Gaukroger, Doug. "Time Structure in Catch-22," Critique: Studies in Modern Fiction. 12, ii: 70-85. |
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Hunt, John W. "Comic Escape and Anti-Vision," In Nathan Scott, Adversity and Grace: Studies in Recent American Literature. Chicago: University of Chicago Press, 1968. |
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Leham, Richard and Jerry Patch. "Catch-22: The Making of a Novel," Minnesota Review. VII (1967), 238-44. |
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Levine, Edward. "The Inflated Image: Satire and Meaning in Pop Art," Satire Newsletter. 6, i: 43-50. |
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McNamara, Eugene. "The Absurd Style in Contemporary American Literature," Humanities Association Bulletin. 19,i: 44-49. |
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Mellard, James W. "Catch-22: Deja Vu and the Labyrinth of Memory," Bucknell Review. 16, ii: 29-44. |
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Milne, Victor J. "Heller's 'Bologniad': A Theological Perspective on Catch-22," Critique: Studies in Modern Fiction. 12, ii: 50-69. |
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Muste, John W. "Better to Die Laughing," Critique: Studies in Modern Fiction. 5, ii: 16-27. |
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Pinsker, Sanford. "Heller's Catch-22: The Protest of a Puer Eternis," Critique: Studies in Modern Fiction. 7, ii: 150-62. |
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Solomon, Jan. "The Structure of Joseph Heller's Catch-22," Critique: Studies in Modern Fiction. 12, ii: 50-69. |
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Stern, J. P. "War and the Comic Muse: The Good Soldier Schweik and Catch-22," Comparative Literature. 20: 193-216. |
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Thomas, W. K. "'What Difference Does It Make?' Logic in Catch-22," Dalhousie Review. 50: 488-95. |
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