Directions: the Following Questions Are Here to Help Guide Your Understanding of Catch-22 As You Make Your Way Through the Novel for the First Time
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EVALUATING PEACE OPERATIONS: the CASE of CAMBODIA Jeni
EVALUATING PEACE OPERATIONS: THE CASE OF CAMBODIA Jeni Whalan* For Colonel Cathcart, Joseph Heller’s ambitious group commander in the novel Catch-22, policy evaluation is an exercise in binary simplicity: outcomes are either ‘feathers in his cap’ or ‘black eyes’.1 His purpose for evaluation is clear: to ascertain whether a particular endeavor would reflect well or poorly on him in the eyes of his superiors. Heller’s example serves to remind us that evaluation is not a neutral exercise. The purposes – and consequences – of evaluating a peace opera- tion are the cause of much contestation. In organizational terms, who deserves the ‘black eye’ of failure: the UN or its member states; the Secretariat in New York or the field operation; or particular agencies or components within an operation? Or, indeed, is it agents within the con- flict environment: parties to the conflict, political leaders, or spoilers? Who deserves the ‘feather’ of success? And as Colonel Cathcart so tragi- cally discovers, when might a feather by one standard turn out to be a black eye by another? In a practical sense, the outcomes of evaluation can have real policy effects. Success has a legitimizing function for peace operations and fail- ure a delegitimizing one. In the field, an operation’s ability to point to success may help peacekeepers to gain the local support they need to achieve further goals. Internationally, evaluations of success help to justify particular acts of intervention, courses of action and, perhaps most important, the expenditure of resources. While independent academic analysis can more often stand back from the sharp end of such contestation and apply a seemingly neutral evalua- tive framework, here too we must be mindful of our purpose. -
Catch-22 Star George Clooney Shares the Catalyst for His Long-Awaited Return to Television in Emmy® Magazine
FOR IMMEDIATE RELEASE CATCH-22 STAR GEORGE CLOONEY SHARES THE CATALYST FOR HIS LONG-AWAITED RETURN TO TELEVISION IN EMMY® MAGAZINE (NoHo Arts District, Calif. — May 10, 2019) — More than 58 years after the publication of Joseph Heller’s classic anti-war novel Catch-22, some of the biggest players in Hollywood are bringing the acclaimed story to a new audience. In the May 10 issue of the award-winning emmy magazine, series executive producer, director and star George Clooney, along with co-stars Kyle Chandler and Christopher Abbott, share the challenges of bringing one of the 20th century’s most renowned literary works to life. While many believed that turning the free-form narrative of Catch-22 into a linear, limited series couldn’t be done, Clooney, along with fellow executive producers Grant Heslov, Richard Brown and the late Steve Golin of Anonymous Content, and series writers, Luke Davies and David Michôd, were up for the challenge. They believed the timeliness of the source material would resonate with a 21st century audience. The six-hour limited series premieres on Hulu May 17. In “A Moral Mission,” the producers and writers share that they were struck by the many ways Catch-22 parallels the current political climate. “There’s an incredible dovetailing between the madness of Heller’s world that David and I tried to translate to the TV screen, and the madness of the world we wake up to every morning,” Davies says. Catch-22 marks the return to series television for Clooney, last seen two decades ago on the NBC drama ER. -
Narrative Time and Mental Space in the Graduate, Catch-22, and Carnal Knowledge
Montclair State University Montclair State University Digital Commons Theses, Dissertations and Culminating Projects 8-2020 Architecture of the Mind : Narrative Time and Mental Space in The Graduate, Catch-22, and Carnal Knowledge Monica Cecilia Winston Follow this and additional works at: https://digitalcommons.montclair.edu/etd Part of the English Language and Literature Commons ABSTRACT This thesis explores three of director Mike Nichols’s films produced during the New Hollywood period—The Graduate (1967), Catch-22 (1970), and Carnal Knowledge (1971)—in an effort to trace Nichols’s auteur signature as it relates to the depiction of the protagonist’s subjectivity and renders post-war male anxiety and existential dread. In addition to discussing formal film technique used to depict the mental space of the protagonist, how these subjective sequences are implemented in the film bears implications on the narrative form and situates Nichols alongside other New Hollywood directors who were influenced by art cinema. This analysis, like those posited by other critics influenced by film theorist David Bordwell, distinguishes the term “art cinema” as employing a range of techniques outside of continuity editing that are read as stylistic, and because of this it entails specific modes of viewership in order to find meaning in style. Because of the function of style, the thesis posits thematic kinship among The Graduate, Catch-22, and Carnal Knowledge, which enriches the film’s respective meanings when viewed side by side. MONTCLAIR STATE UNIVERSITY Architecture of the Mind: Narrative Time and Mental Space in The Graduate, Catch-22, and Carnal Knowledge by Monica Cecilia Winston A Master’s Thesis Submitted to the Faculty of Montclair State University In Partial Fulfillment of the Requirements For the Degree of Master of Arts August 2020 College: College of Humanities and Social Sciences Department: English Dr. -
Catch-22, Joseph Heller Was Working in New York City in Advertising, Serving Three Large Publi- Cations from 1952 to 1961
W Brett Wiley Cathcart and the Magazine hile writing Catch-22, Joseph Heller was working in New York City in advertising, serving three large publi- cations from 1952 to 1961. In 1952, he began working for TimeW, until 1956 when he became the advertising man- ager for Look. In 1958, he was hired as the promotion manager at McCall’s,a position he held until the release of the novel in 1961. He had an insider’s view of the magazine business and was familiar with the coverage, the adver- tisements, and the layout. The copywriter turned novelist had also published five stories in the Atlantic Monthly, Story, and Esquire by the time he began working in the industry.1 While writing the novel, Heller would spend two hours every night working on the manuscript after working a full day at the office.2 His employment at Time, Look, and McCall’s appeared to be simply the backdrop for the writing of his first book. However, because he formulated the initial plans for the book during his employment at three magazines, the inclusion of a periodical in the novel was significant. Joseph Heller’s incorporation of a magazine was designed to display the ambitiousness of Colonel Cathcart and likewise the aspiration of American society. For Heller, ambition was the defining characteristic of Yossarian’s superior. According to James Nagel in “The Catch-22 Note Cards,” when the author first planned the section on the colonel his notes began with item one, “Cathcart’s background and ambition.” The colonel was obsessed with aspiring and achieving the rank of general, the highest level of command in the military.3 Nagel also explained that a fourth item on the same card of notations, “Tries to have Chaplain say prayer at briefing,” related “log- ically to Cathcart’s ambition.”4 In the book, the novelist connected his idea to have the chaplain say prayers before briefings to coverage of such an event that Cathcart discovered in The Saturday Evening Post. -
Describe Catch 22 As Doc Daneeka Explains It
Catch 22 Question Answers Describe Catch 22 as Doc Daneeka explains it. § It is a doctor’s duty to ground anyone who’s crazy. § BUT the doc cannot ground any pilot for reasons of insanity unless the pilot first asks him. § YET if a pilot asks to be grounded because he’s crazy, then he must be sane. Who doesn’t want to fight? § A soldier who doesn’t want to fight is sane (it’s impossible to want to fight). § Therefore, it’s impossible for a soldier to be excused from battle on the grounds of insanity. Describe the growth and expansion of M & M Enterprises. § This brainchild of Milo’s grows from a small operation into an international syndicate. § Within two weeks, Milo convinces Major de Coverley to name him mess officer and put squadron planes at his disposal for transactions and acquisitions. Milo’s ambition § As milo tries to get the best food for his mess hall and as he makes the best deals for the highest profit, his operations expand beyond the local level. § His operation becomes large enough to be considered a syndicate in which everyone supposedly has a share. Syndicate’s Success § Milo’s planes are everywhere. § Milo makes big deals all over the world. § Milo’s status at the head of the syndicate earns him respect-even fame- wherever he goes. § Mayor of Palermo § Assistant governor-general of Malta § Vice-shah of Oran § Caliph of Baghdad § Sheik of Araby Explain the significance of the character’s names. Yossarian § Colonel Cathcart’s reaction to the name suggests the trouble and rebellion we see in the character. -
AP English Lit and Comp 4 .Pages
Brittnee Ward [email protected] AP English Literature and Composition (Grade 12) How to Read Literature Like a Professor by Thomas C. Foster Catch 22 by Joseph Heller The books can be purchased from iBooks, Amazon, Books-A-Million, etc. Any version is acceptable, electronic or hard copy, however, I prefer hard copy to take notes in the margin. Make sure the version you purchase for Catch 22 has a blue cover. My version’s ISBN: 9781451626650 Summer Reading Requirements 1. How to Read Literature Like a Professor Notebook: 100-pt. quiz grade turned in at the beginning of class on the first day of school (Aug 12). (Instructions attached below) Objective: Reading and annotating this work will allow students to easily recognize patterns in literature to use with each novel, play, or poem. Symbols, themes, stereotypical characters, etc., will become familiar and aid in analyzing the deeper meaning of literature as it relates to a particular culture or society. The notebook will serve as a guide for all future works of literature read in class. 2. Reading Guide for Catch 22 (questions will be divided equally among students): 150-pt. daily grade emailed to Mrs. Ward by 8 a.m. on first day of school (Aug 12). You must answer in complete sentences to get credit. No Bullet Points! (Instructions attached below) (Once school starts, you will copy and paste your answers into a Google document shared for class discussion/review before the test.) Objective: Analysis of this novel will help students become familiar with the use of satire and third person point of view. -
Joseph Heller Collection11.Mwalb02035
Joseph Heller collection11.MWalB02035 This finding aid was produced using ArchivesSpace on October 01, 2021. eng Describing Archives: A Content Standard Brandeis University 415 South St. Waltham, MA URL: https://findingaids.brandeis.edu/ Joseph Heller collection11.MWalB02035 Table of Contents Summary Information .................................................................................................................................... 3 Scope and Contents ........................................................................................................................................ 3 Administrative Information ............................................................................................................................ 4 Controlled Access Headings .......................................................................................................................... 4 Other Descriptive Information ....................................................................................................................... 5 Collection Inventory ....................................................................................................................................... 5 "Catch-22" .................................................................................................................................................... 5 "McHale's Navy" ....................................................................................................................................... 41 "We Bombed in New Haven" -
Michael C. Scoggins Joseph Heller's Combat Experiences in Catch-22
Michael C. Scoggins Joseph Heller’s Combat Experiences in Catch-22 n the forty-one years since the initial publication of Catch-22, Joseph Heller’s best-selling 1961 novel about World War II, the book has been a favorite subject for analysis and commentary, and an enormous bodyI of literary criticism on the work has been published. There have been numerous essays on the novel’s structure, its debt to other works of literature, its humor and logic, its moral and ethical values, and its religious themes and mythical overtones (Nagel 4). However, Heller’s treat- ment of the war itself has received scant attention by most critics. A few writers have compared Catch-22 to other war novels, especially the novels of Ernest Hemingway (Nolan 77-81; Aubrey 1-5), and David M. Craig has written two essays for War, Literature and the Arts demonstrating how Catch-22 incorporated some of Heller’s own combat experiences (Craig “Revisited,” 33-41; Craig “Avignon,” 27-54). But the majority of Heller’s crit- ics have taken the stance that Catch-22 has very little to do with World War II and is in fact not a war novel at all (Kiley and McDonald v; Merrill Joseph Heller, 11). Heller himself consistently minimized the war’s influence on the novel in many of his statements and interviews. For instance, in a 1970 speech in New York City, he told his audience that “Catch-22 is not really about World War II” (Heller “Translating,” 357), and in a 1975 interview he reiterated those sentiments: “As I’ve said, Catch-22 wasn’t really about World War Two. -
Catch‐22 Reading Guide
Catch‐22 Reading Guide ‘Catch‐22 n. 1. a situation in which a person is frustrated by a paradoxical rule or set of circumstances that preclude any attempt to escape from them. 2 a situation in which any move that a person can make will lead to trouble (C20: from the title of a novel (1961) by J. Heller)’ (Collins) Synopsis Joseph Heller began work on Catch-22, the story of a US airman’s attempts to survive the madness of the Second World War, shortly after returning from the conflict himself. The son of Russian Jewish immigrants to the United States, Heller had joined the US Air Force in 1942 at the age of nineteen, going on to fly sixty bombing missions against enemy targets over southern Europe. After the war, while working as an advertising copywriter, he spent seven years writing a novel that reflected his experience, and what he saw as the insanity of military life. The book - which was originally titled Catch-18 - tells the story of Captain Joseph Yossarian, a member of a US bomber crew stationed on the Mediterranean island of Pianosa. Yossarian is convinced that the military is trying to get him killed, and that those around him are insane, and he spends the course of book trying to get out of flying any more seemingly suicidal missions. Yossarian is surrounded by a cast of bizarre characters, including Colonel Scheisskopf, who is obsessed with military parades at the expense of just about everything else, the newly promoted Major Major, Major, Major, who spends most of the war trying to hide from his men, and the profiteer Lieutenant Milo Minderbinder, a pure capitalist whose only ambition is to make money out of the war, and who ends up charging a commission on every military engagement. -
Appreciation of Repetition in Catch-22
2016 2nd Asia-Pacific Management and Engineering Conference (APME 2016) ISBN: 978-1-60595-434-9 Appreciation of Repetition in Catch-22 JIN-PING TANG ABSTRACT Joseph Heller’s Catch-22 is a highly praised novel owning to its language characteristics. Repetition is one of the stunning features Joseph Heller adopts to create the splendid aesthetic effects. The paper aims to explore the role of repetition in terms of heightening the tension and horror of the war, emphasizing Yossarian’s aggressiveness to the officer and his persistence in keeping alive, strengthening the officer’s abnormal hatred towards the solider, swelling absurdity and giving birth of and reinforcing the effect of black humor. INTRODUCTION Joseph Heller was born on May 1923 in Brooklyn, New York. His father was dead when he was only four years old. Heller was enrolled in the Twelfth Air Force after graduating from Abraham Lincoln High School in 1941, being stationed in Corsica where he flied sixty missions as a wing bombardier. Heller started writing while he was a college student. He sold a few short stories to Esquire in 1947 and 1948, another few to Atlantic in 1948. In 1954 he started working on "Catch-18," 1 a novel which had been gestating since 1947. Prior to the publication in 1961, Heller was forced to change the title, Catch-18, to Catch-22 to avoid confusion with Leon Uris's Mila 18. Heller admitted that the number twenty-two, 22, had relevance to the novel "because so many things do repeat themselves so that the two 2's struck me as being very appropriate to the novel."2 The setting of Catch-22 is the fictional island of Pianosa, the base of the Twenty-seventh Air Force. -
Catch-22: Man in an Alien Society
CATCH-22: MAN IN AN ALIEN SOCIETY by MICHAEL MCKAY BARBOUR B.A. , University of British Columbia, 1967 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1969 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thes,is for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada ABSTRACT This paper examines social relationships and pressures of con• temporary society as shown in Joseph Heller's novel Catch-22. Through a brief study of conceptual limitations within Heller's characters it demonstrates that they exist within a totally self-enclosed system di• vorced from reality but supported by complex justifications. Within this social matrix is seen the heroic strivings of Yossarian to save a world he believes to have gone mad. As the study progresses, it shows that Yossarian and his friends do not in fact share the same conceptual basis as their apparent society. Their satiric efforts are seen to be useless to a society convinced of its own justifications for evil, and destructive to their own potential• ities for human-beingness. -
Morality's Catch-22. Philosophia 35:2 (June 2007): 145- 159
Harold, James. The Ethics of Non-Realist Fiction: Morality’s Catch-22. Philosophia 35:2 (June 2007): 145- 159. The Ethics of Non-Realist Fiction: Morality’s Catch-22 When philosophers discuss ethics and literature, the literature that they usually have in mind is the modern realistic novel. The “great tradition” of morally serious and psychologically realistic fiction (including works by Tolstoy, Austen, James, Dickens, etc.) has often seemed the most important and most interesting set of novels for philosophical discussion.1 These novels are distinguished by their serious moral concern with social issues and by their psychologically detailed and rich characterization. Philosophical discussion has therefore focused primarily on novels of this sort and their more recent progeny.2 In fact, it is difficult to find any sustained discussion of novels outside of this tradition (broadly conceived) in the entire philosophical literature. But of course the novel comes in many different forms, and though some of these other forms have little or no explicit moral content, others do. In this essay I propose to look at the relationship between ethics and literature by looking at non-realistic forms of fiction, and at one work in particular, Joseph Heller’s Catch-22. The topic is how non-realistic novels challenge our philosophical understanding of the relationship between literature and ethics. 1. Realistic and non-realistic novels It is not at all easy to say what the difference between realistic and non-realistic novels is, though examples of each sort are easy to come by. It is yet more difficult to define non-realist novels.