Joshua Lok
Biographic Data
| ID | 9199775 |
|---|---|
| NAME | Joshua Lok |
| GIVEN NAMES | Joshua |
| FAMILY NAME | Lok |
| SIGNATURE | LOK J |
| AFFILIATIONS | Nanyang Technological University, Singapore. |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Unfeeling, Unflinching, and ‘Superbly Uncuddly’
Much about Muriel Spark is upsetting. Not least the fact that her writing, whether in style or subject matter, is perennially unclassifiable. Speaking to Janice Galloway in 1999, Spark admits that it is “very difficult to put my work in any genre and under any label––very very difficult ... It bothers people.”1 According to Ruth Whittaker, her writing is “more obviously resistant to the process of critical labelling than many writers because her …
Representing Home
This article seeks to establish aesthetic analysis as an integral approach to post-colonial literature, taking attention to form and depictions of beauty to stand for aesthetic qualities. More specifically, this article reads the treatment of food in Amitav Ghosh’s The Glass Palace (2000) and Romesh Gunesekera’s Reef (1995) as not only aesthetic achievements that resonate powerfully with many postcolonial concerns, but also as instances where aes…
No prominent works on this page.
Representing Home
This article seeks to establish aesthetic analysis as an integral approach to post-colonial literature, taking attention to form and depictions of beauty to stand for aesthetic qualities. More specifically, this article reads the treatment of food in Amitav Ghosh’s The Glass Palace (2000) and Romesh Gunesekera’s Reef (1995) as not only aesthetic achievements that resonate powerfully with many postcolonial concerns, but also as instances where aes…
Unfeeling, Unflinching, and ‘Superbly Uncuddly’
Much about Muriel Spark is upsetting. Not least the fact that her writing, whether in style or subject matter, is perennially unclassifiable. Speaking to Janice Galloway in 1999, Spark admits that it is “very difficult to put my work in any genre and under any label––very very difficult ... It bothers people.”1 According to Ruth Whittaker, her writing is “more obviously resistant to the process of critical labelling than many writers because her …
Art (2 works) · Aesthetics (1 works) · Beauty (1 works) · Colonialism (1 works) · Computer Science (1 works) · Criticism (1 works) · Desegregation (1 works) · History (1 works) · Law (1 works) · Linguistics (1 works)