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The paper contributes to the theme of the special issue by making auto/biography the focal point of analysis and theorising its potential to be mobile or immobile. The theoretical developments of the paper are grounded in a mobilisation of life-without-children auto/biographical non-fiction across the last 10–15 years, in which those who do not have children, whatever the reason, have opened-up about their stories and found ways to share them with one another. The paper explicates an original concept immobile autobiography defined as: 'life narratives that are invisible and side-lined, essentialized or not told in first person, and whose circulation both within (intra) and between (inter) generations is structurally limited'; and its converse mobile autobiography. (Im)mobile auto/biographies include, but cannot be reduced to, digital and physical mobilities. The potential of the concept lies in its ability to consider how lives, and the stories told about them, evolve, circulate and perform transformation, as they intersect with, transgress and re-shape changing cultural climates of a mobile world. [ABSTRACT FROM AUTHOR]

Nowadays, there are not comprehensive studies on the idioms used by Pier Paolo Pasolini in his vast literary and non-fiction production. There is only one essay, although rich in data and starting points, on a proverb cited in an article published in the weekly «Il mondo» in 1975 (Rondinelli 2017). This paper, therefore, essentially has three objectives: 1) to trace the idioms used by the Emilian writer, also referring to other interesting phraseology for the purposes of the research; 2) to provide information on the identified idioms, retracing the most significant elements of their history; 3) to identify the clues that explain their use in Pasolini. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to present the history of translation of Polish non-fiction in mainland China from the 1980s to the present. The article divides the translations into three broad categories: anti-fascist literature, exemplified by Tadeusz Borowski and Zofia Nałkowska; reportages, represented by Ryszard Kapuściński; and biographies, diaries and correspondence of renowned Polish artists. The paper includes descriptions of the motives behind the publication of these translations, their reception and information about the translators. It notes that most of the Chinese translations of Polish non-fiction were produced under the influence of significant commemorative events or promotional activities organized by official cultural institutions of both countries. [ABSTRACT FROM AUTHOR]

In this paper, I analyse the phenomenon of eeriness as a kind of strange aesthetic experience. Beginning with Fisher's insight (The Weird and the Eerie , 2017) that we can distinguish weirdness and eeriness from uncanniness, I offer an original account of eeriness. I argue that eeriness is the appearance of an underdetermination in the spatio-temporal location of objects of experience, relative to experiencing agent; this underdetermination results in a destabilisation of the "horizon of object-ivity" within which we make sense of the objects of appearance. This has the existential consequence of destabilising the subject's sense of being-in-the world. I ground the analysis in examples from both fictional and non-fictional contexts to indicate the generality of the analysis. [ABSTRACT FROM AUTHOR]

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Recial is the property of Universidad Nacional de Cordoba, Centro de Investigaciones, Facultad de Filosofia y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper sets out to analyze Kaikō Takeshi's travelogue "Kako to mirai no kuniguni - Chūgoku to Tōō" ("Countries of Past and Future - China and Eastern Europe"), which describes Kaikō's first experience of Eastern Europe and China. As a writer who got to be well-recognized for his reportage writing and novels based on his own experience, Kaikō's initial struggle abroad turned out to be the opportunity that lit his inner desire to continue searching for the truth, leading him towards the exploration of the boundaries between fiction and non-fiction, which is the writing he is still most well remembered for today. [ABSTRACT FROM AUTHOR]

Mainstream media is a common source of information on mental health, and its portrayal of mental disorders can influence public perceptions and stigmatisation. Recently, autism has received increased attention in mainstream media. This scoping review aims to contribute to the existing literature on the portrayal of autism and its stigmatising effect by mapping the characteristics and range of records that describe the representation of autism in mainstream media with a focus on non-fiction media (newspapers and social media) and fiction media (movies & TV, and literature). We extracted 31 articles from PubMed and PsychInfo, as well as conducting secondary searches, covering articles published between 2010 and 2022, with a time frame of media from 1988 to 2022. Most of the articles focused on newspapers and movies & TV. Our findings suggest that while the portrayal of autism in media varies, stigmatisation is most prominent in newspapers and movies & TV, often with a negative tone and stereotypical portrayal such as savantism. One possible reason for this could be the lack of representation of experts by experience in these media outlets. In contrast, our review found that literature often has a more diverse and positive representation, and social media tends to have a more supportive tone. Our recommendation is that autistic individuals should be included in the content creation process. Furthermore, future research should focus on newer forms of media, particularly social media, where self-representation is more common, and investigate how this affects the portrayal and stigmatisation of autism. [ABSTRACT FROM AUTHOR]

The practice of reading aloud to children is ubiquitous in early childhood classrooms. Teachers read aloud to young children to entertain, to build early literacy skills, to develop domain specific content knowledge and vocabulary, to promote social and emotional development and well-being, and to draw children into community with each other and the world. The types of texts teachers decide to immerse children in matters: children need opportunities to examine fiction and nonfiction texts, to learn from and about history, to wonder about phenomena in their natural, physical, and social worlds. This study explores the range of titles that 445 early childhood teachers reported reading with their students at a single timepoint. It describes the variety of fiction and nonfiction texts teachers reported reading and surfaces rich culturally relevant literature selections use with young children. [ABSTRACT FROM AUTHOR]

A debate over whether children's nonfiction should "speculate" was launched in 2011. Understood within the context of changing demands on children's nonfiction, it reveals a contested construction of childhood and suggests that the rules of critical engagement might be different in different genres of children's nonfiction. [ABSTRACT FROM AUTHOR]

This paper explores how documentary cinema in war contexts can challenge gender representations. To do so, we adopt a feminist and postcolonial approach to analyze the work of Catalan non-fiction filmmaker Alba Sotorra in Kurdistan, Afghanistan and Catalonia. In her films, Sotorra positions herself close to a series of subjects absorbed by wars and armed conflicts that (re)define their identities while acting beyond gender stereotypes. In particular, the paper analyzes the modes of production and representational strategies of two of Sotorra's latest feature films, Game Over and Commander Arian, documentaries with which the filmmaker aims at overcoming the visual exploitation of alterity. After an introduction to Sotorra, and a brief revision of the theory of postcolonial feminist cinema, our argument unfolds in four parts. Firstly, we reflect on cinematic representations of women and men at war; secondly, we introduce our methodology, based on in-depth interviews with the director to support our film analysis; thirdly, we contrast our hypotheses by means of close-readings of the films; lastly, we reflect on how the filmmaker aligns herself with intersectional feminism by using empathy and solidarity towards her subjects. [ABSTRACT FROM AUTHOR]