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Copyright of Interdisciplinary Studies of Literature is the property of Interdisciplinary Studies of Literature Editorial Office 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.)

Throughout its serial run, Charles Dickens's Pickwick Papers (1836–7), was repurposed hundreds of times by the provincial press. From acting as innocuous filler material to making strategic political statements, provincial newspaper editors evoked, excerpted and adapted Pickwick as quickly as Dickens was penning the instalments, showing a keen responsiveness to political topicalities relevant to their reading communities. This article contends that these types of journalistic re-use benefit from being read collectively as a form of remediation, defined by Jay David Bolter and Richard Grusin as 'the formal logic by which new media refashion prior media forms'. It argues that these remediations are vital to understanding the politics of the provincial press because they became one method through which provincial newspapers articulated a localised response to the national political debates that raged following the 1832 Reform Act. As well as reflecting the political priorities of specific communities, these remediations nuance our understanding of Pickwick 's popularity by drawing attention to aspects of its construction that lent themselves to re-use. While explicit engagement with party politics is conspicuously absent from Pickwick , provincial editors capitalised upon this generality and imbued their re-workings of the serial with a partisanship that Dickens himself avoided, while using his name to substantiate and authorise their own pieces. In this respect, these remediations invite us to place Pickwick at the heart of political debate in the papers, by foregrounding the close relationship between newspaper politics, serial literature, and provincial identity in the 1830s. [ABSTRACT FROM AUTHOR]

Copyright of Interdisciplinary Studies of Literature is the property of Interdisciplinary Studies of Literature Editorial Office 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.)

The present study explores the definitions and evolutionary trajectories of the novel and novella genres within Romanian literary theory and practice. It navigates through terminological overlaps and historical contexts, particularly focusing on the challenges inherent in defining the novella. Through an examination of Romanian literary history, the emergence of the novella is unravelled within the romantic historicist matrix and its successive transformation into a precursor of the novel during the 19th century. The thematic richness, stylistic diversity, and cultural significance of Romanian historical fiction are also explored, shedding light on their role in shaping cultural memory and historical consciousness. The paper also describes the hybrid nature of Romanian historical novel, illustrating its evolution amidst sociopolitical and cultural upheavals, notably after the revolutionary period of 1848. [ABSTRACT FROM AUTHOR]

Literature is a medium of expressing what it is to be human and to feel human, and religious texts are one category of these expressions of humanity. Christian hymns mirror the right beliefs and right practices of their faiths. As such, this study analyzed where man roots and finds his source of worth and identity through selected contemporary hymns. The hymn "My Worth is not in what I own" and "I'd rather have Jesus" were selected using deliberate sampling. The paper utilized a descriptive qualitative design, and subjected the two hymns to both document analysis and thematic analysis, where several observations and interpretations have emerged. Based on the interpreted data, linguistic features show the dominance of the first-person pronouns and negation as effective devices in pointing the meaning and source of worth and identity. Literary devices such as comparison and rhyme also affect the rhythm and understanding of the hymns toward the discovery of one's identity and worth. The Searlean assertive, declarative, and expressive acts are found to be evident in the formation and discovery of one's worth and identity, in that there is assertion, redirection, and response to the newfound/expounded identity and worth. In conclusion, this study provides compelling evidence that material pursuits of the speaker in the two hymns are in no match and comparison to the grander scale of Jesus as ultimate source of identity, worth, pleasure and treasure. These findings have important implications that hymns do not only lay out spiritual and theological truths, but also individual and psycho-social aspects of meaning making of what it is to exist, what it is to be human, and why we exist. As such, this study contributes to our understanding of hymns. Overall, this research highlights the significance of analysis of hymns and suggests potential avenues for future investigation. [ABSTRACT FROM AUTHOR]

The Removed (2021), a novel by Brandon Hobson, a well-known American author from the Cherokee--Native American tribe of the Iroquoian lineage--depicts how the indigenous people are consumed by their family's past, its influence on the present, and the way the present (re)constructs the past with regard to their experiences. The paper investigates the experiences of trauma, memory, and recovery among Native Americans through a critical analysis of the novel, which thematizes the Trail of Tears, a series of forced displacements of five tribes between 1830 and 1850. The paper explores the effect of the past events and the development of hyperarousal, flashback, sense of loss, intrusive conflict, trauma, and healing in the four main characters of the novel, with a focus on the author's use of myth, supernatural, and indigenous knowledge to depict the past. It also shows, by applying Judith Herman, Cathy Caruth, Kai T Erikson, and Ann E Kaplan's theory of trauma and recovery, how the novel depicts the four stages one generally goes through during the process of healing from trauma, viz., remembering what happened, feeling sad about what was lost, reconnecting with people, and understanding what went wrong and how to fix it. [ABSTRACT FROM AUTHOR]

Ecocriticism, as a separate school of literary criticism, emerged during the 1970s to study the interconnection between literature and ecology from an interdisciplinary perspective. Deep ecology is one of the key concepts in ecocritical studies, advocated by the Norwegian philosopher Arne Naess, that foregrounds the promotion of ecological consciousness among the human community. The deep ecological principles also highlight the depletion of natural resources through excessive human interference and exploitative attitudes. This paper attempts to critically examine the deep ecological principles in Anuradha Roy's novel All the Lives We Never Lived (2018). Anuradha Roy is an Indian novelist, editor, and journalist, and her novels gained significance not only in India but also in several countries, making her one of the prominent voices of contemporary Indian Literature. This paper explores the need for humans to realise the inherent values of the non-human world and to promote harmonious coexistence with the environment by valuing the richness and diversity of life forms and utilising them only to satisfy their vital needs. It further examines the need for a decrease in population for non-human life to flourish and to reduce excessive human interference with the ecosystem. This paper reiterates the necessity to adhere to each deep ecological principle, accentuating the significant, transformative changes to be embraced to promote environmental responsibility for sustainable living. These aspects are elucidated through relevant instances from the chosen novel. [ABSTRACT FROM AUTHOR]

This paper develops a world-systems and theoretical analysis of the mechanisms of production and uneven distribution of authoriality in the global literary field. Its title is therefore intentionally duple in its ambiguity: the pursuit of authorship will be shown, simultaneously, as the action of pursuing something as a career (the writer who wishes to become a professional author, for instance, by writing and publishing a text or what I will call the author’s work) and, in parallel, as an activity of a specified and specialized kind (the entire range of elements and processes involved in the social production of authorship or what will be defined as the work of authorship). To this end, the function of world-authorship and its emergent model of ascension will be both situated within the neoliberal regime of capitalist production and the sphere of world literary studies by pursuing the contours and implications of a materialist, posthuman, and ecological approach, while also hinting at its value and processes indexed in terms of forms, figures, functions, and forces. Finally, then, understood within the post-theoretical conjuncture unfolding today, post-authorship will be defined as both a commodity and a world-apparatus. [ABSTRACT FROM AUTHOR]

This paper evaluates how technical assistive devices for manual materials handling were analysed in the literature in a warehousing context. Works that discuss the economic and/or human factors impact of assistive devices on the warehousing system or the people employed therein were identified in a systematic literature review. Building on a conceptual framework proposed in this paper, our evaluation of the literature shows which types of assistive devices were analysed in the past, and from which perspective these devices were examined. Some works studied the devices exclusively from an operator well-being or an efficiency perspective, while several works analysed the devices' performance in terms of both dimensions. Several works contained in our literature sample highlighted trade-offs between both ergonomic and economic measures and, within the first category, between alternative ergonomic indicators, which shows that assistive devices have to be evaluated carefully in light of their intended application. The paper further identifies research gaps and emphasises the need to understand the interactions between human- and system-related variables that can be supported by assistive devices in designing effective manual materials handling systems. [ABSTRACT FROM AUTHOR]

This review paper explores the evolution of literary collections in academic libraries and their impacts on contemporary English literary studies. With the growth of digital technologies, the shift from traditional print collections to digital repositories, and the integration of open access resources, academic libraries have played a pivotal role in shaping how English literature is studied today. This paper examines how these transformations have influenced research methodologies, access to diverse literary works, and the overall study of English literature in contemporary academia. The paper also incorporates relevant data, tables, and graphs to analyze trends and provide insights into the changes. [ABSTRACT FROM AUTHOR]

Copyright of Varia História is the property of Varia Historia 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 Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 Annual Review of the Faculty of Philosophy / Godisnjak Filozofskog Fakulteta is the property of Faculty of Philosophy, University of Novi Sad 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 presents a comprehensive study of ecocriticism in Indian English novels, focusing on themes such as environmental degradation, the relationship between humans and nature, and the role of nature as a significant character or agent of change. Drawing on selected texts from prominent Indian English writers like Ruskin Bond, Amitav Ghosh, and Kamala Markandaya, it explores how these authors envision the landscape in their works. The study reveals that through vivid depictions of deteriorating environments and damaged ecosystems, the writers reflect the ongoing environmental crisis. The research highlights the crucial role of literature in fostering eco-consciousness and contributing to sustainability discourses while emphasizing the urgent need for cultural responses to environmental challenges. It traces the historical interplay between humanity and nature, examining how Indian authors address ecological issues in the context of rampant urbanization, increasing pollution, and climate change. This article provides a theoretical framework for reading these texts as eco-fiction, exploring their implications for natural worldviews against anthropocentrism, the collective dimensions of environmental issues, and feminist perspectives on nature. Situated at the intersection of literary studies and environmental humanities, this innovative methodology interrogates how literature can mainstream sustainability and eco-ethics in India. [ABSTRACT FROM AUTHOR]

This paper presents a comprehensive study of ecocriticism in Indian English novels, focusing on themes such as environmental degradation, the relationship between humans and nature, and the role of nature as a significant character or agent of change. Drawing on selected texts from prominent Indian English writers like Ruskin Bond, Amitav Ghosh, and Kamala Markandaya, it explores how these authors envision the landscape in their works. The study reveals that through vivid depictions of deteriorating environments and damaged ecosystems, the writers reflect the ongoing environmental crisis. The research highlights the crucial role of literature in fostering eco-consciousness and contributing to sustainability discourses while emphasizing the urgent need for cultural responses to environmental challenges. It traces the historical interplay between humanity and nature, examining how Indian authors address ecological issues in the context of rampant urbanization, increasing pollution, and climate change. This article provides a theoretical framework for reading these texts as eco-fiction, exploring their implications for natural worldviews against anthropocentrism, the collective dimensions of environmental issues, and feminist perspectives on nature. Situated at the intersection of literary studies and environmental humanities, this innovative methodology interrogates how literature can mainstream sustainability and eco-ethics in India. [ABSTRACT FROM AUTHOR]

The intersection of feminism and literature has prompted a critical reassessment of the literary canon, traditionally dominated by male voices and patriarchal narratives. This paper explores the role of feminist literary criticism in reclaiming and reshaping the canon, with a specific focus on the works of Jane Austen. Austen's novels, often dismissed as mere romantic fiction, reveal a subversive critique of the gender norms and social structures of her time. Through characters such as Elizabeth Bennet, Emma Woodhouse, and Anne Elliot, Austen challenges the constraints imposed on women by patriarchal society, emphasizing female agency, autonomy, and the complex realities of marriage as an economic contract. By critically examining these themes, this paper argues that Austen's works not only reflect early feminist thought but also offer a nuanced critique that aligns with contemporary feminist discourse. Reclaiming Austen within the literary canon exemplifies how classic literature can be reinterpreted to highlight feminist perspectives, reaffirming the importance of integrating women's voices and experiences into the core of literary studies. This abstract captures the central arguments and themes of the topic while providing an overview of the critical discussion surrounding Jane Austen's contribution to feminist literature. By reclaiming Austen within the literary canon, this research underscores the importance of recognizing and celebrating the feminist dimensions of her writing. The analysis demonstrates how Austen's enduring relevance lies not only in her narrative mastery but also in her quiet yet profound challenge to the patriarchal structures of her time, making her a significant figure in feminist literary studies. The literary canon traditionally comprised works by male authors and often marginalized or excluded women's voices and perspectives. Feminist literary criticism emerged as a movement to reclaim and reassess the canon by highlighting the contributions of women writers. It challenged patriarchal norms embedded within literature and brought forward the experiences, voices, and perspectives of women that had long been overlooked. Reclaiming the canon involves not just adding women writers but also critically reinterpreting texts through a feminist lens. It asks questions about gender roles, power dynamics, and the representation of women in literature. [ABSTRACT FROM AUTHOR]

The article proposes a reading of Jacques Derrida's concept of "remains" as a way of approaching the question of being true to the original both in translation and in critical readings of texts that seem to assume the unchangeable presence of their objects of attentiveness. Although I mainly concentrate on the issues of translation, the affinities between the two spheres of literary interest are only too obvious, and I gradually approach them in this paper through Derrida's reading of what seems to be an Alaskan case of coffining of the dead. This coffining, as way of treating remains, is rhetorically related to reading and interpretation, and also to translation, as a tribute to what is left behind, unspoken or untranslated. What I attempt to bring to the fore in this paper are the complexities and intricacies involved in linguistic and artistic mythologies of presenting and articulating the world as simply present and living, at the cost of discursively coffining what remains. [ABSTRACT FROM AUTHOR]

W. Somerset Maugham, an English author active from the late 19th to the mid-20th century, has long been the subject of comparative and cross-cultural literary studies, especially in relation to his literary connections with the East. Moving beyond Edward Said's "Orientalist" model, this paper adopts J. J. Clarke's concept of "strategy of self-questioning" to explore Maugham's "creative" engagement with Zhuangzi's philosophies. Through analyzing The Painted Veil and The Narrow Corner, the paper argues that Maugham employs Zhuangzi's concept of Yi Dao Guan Wu as a lens to redefine the concepts of subjectivity and ethics within the context of cross-cultural dialogue. [ABSTRACT FROM AUTHOR]

Purpose: This paper will challenge normative disaster studies and practice by arguing that thriving communities require the pursuit of imperfection and solidarity. The authors use Lewis Carroll's Looking-Glass World as a lens to critique both how disasters are understood, and how disaster researchers and practitioners operate, within a climate-change affected world where cultural, political and historical constructs are constantly shifting. Design/methodology/approach: The paper will undertake an analysis of both disasters and disaster studies, using this unique (and satirical) critical lens, looking at the unfolding of systemic mistakes, oppressions and mal-development that are revealed in contemporary disasters, that were once the critiques of Lewis Carroll's Victorian-era England. It shows how disaster "resilience-building" can actually be a mechanism for continuing the status quo, and how persistent colonizing institutions and systems can be in reproducing themselves. Findings: The authors argue the liberation of disaster studies as a process of challenging the doctrines and paradigms that have been created and given meaning by those in power – particularly white, Western/Northern/Eurocentric, male power. They suggest how researchers and practitioners might view disasters – and their own praxis – Through the Looking Glass in an effort to better understand the power, domination and violence of the status quo, but also as a means of creating a vision for something better, arguing that liberation is possible through community-led action grounded in love, solidarity, difference and interconnection. Originality/value: The paper uses a novel conceptual lens as a way to challenge researchers and practitioners to avoid the utopic trap that wishes to achieve homogenized perfection and instead find an "imperfect" and complex adaptation that moves toward justice. Considering this idea through satire and literary criticism will lend support to empirical research that makes a similar case using data. [ABSTRACT FROM AUTHOR]

My paper examines Franz Rosenzweig's and Paul Celan's translations of Yehudah Halevi's poems, approaching the topic from the perspectives of both translation studies and literary criticism. On the one hand, I will scrutinize Rosenzweig's and Celan's translations against the backdrop of their theological approaches. I will also attempt to articulate the translation technique that Celan typically employed throughout his life, while translating from multiple languages into German. On the other hand, I will explore Celan's implicit departure from Rosenzweig and his choice to specifically translate these two poems in light of his poetics, his notion of exile, and his exclusive choice of using German as his only poetic language. [ABSTRACT FROM AUTHOR]

So much critical work about English language fiction by Indigenous writers from Te Moana‐nui‐a‐Kiwa is Eurocentric. Although Papua New Guinean writer‐scholar Steven Winduo argued 2 decades ago for the need to unwrite Eurocentric views of an 'imagined Oceania' and Māori writer Keri Hulme wrote disparagingly of Anglocentric 'gods of Literature', Samoan fantasy writer Lani Wendt Young has more recently described traditional publishing houses as 'white castles of literature'. Indigenous peoples across Kiwa's great ocean do not need the empire's eyes. Māori do not need the empire's eyes; we have seen ourselves in our narratives since our primordial parents, Ranginui and Papatūānuku, were separated. Yet too often, Indigenous wāhine bodies in fiction are read as stereotyped features of indigeneity or are simply ignored. As a single connecting node to the wider literary networks of Te Moana‐nui‐a‐Kiwa, this paper recentres oft‐overlooked Indigenous rhythms and offers a wahine Māori reading of wāhine Māori lives in stories written by wāhine Māori. Specifically, this essay recentres wāhine Māori lives by weaving together extracts of the poem, 'this tauiwi house', with contemplations of wāhine bodies in two short stories written by wāhine Māori: 'Flower Girls' by Patricia Grace and 'Birth Rights' by J. C. Hart. Ultimately, careful readings of wāhine bodies offer rich insights into the wider tapestry of Indigenous lives and the societies we inhabit across Te Moana‐nui‐a‐Kiwa. [ABSTRACT FROM AUTHOR]

Literary and cultural criticism has historically held a highly dichotomous perception of Mexican author Elena Garro, generally more interested in making value judgments about her life than in analyzing her literature. In this essay, I defend that the analysis of her intimate archive gives us new methodological tools for archival research that, far from reproducing patriarchal approximations of her work, accepts ambiguity and chaos as an inherent part of her public persona. By analyzing both the documents held in the collection "Elena Garro Papers: 1935–1998," which Garro donated to Princeton University, and the "missing" parts of her archive, still in the hands of private owners, this article brings to the fore the material dimension of the author's struggle to be recognized as a serious writer. I argue that Garro's curatorship of her intimate archive illuminates the strategies (gambits) needed to solidify her place as a female author in literary history. [ABSTRACT FROM AUTHOR]

Transparency in reporting is essential to scientific progress. No report should be considered complete without a full account of uncertainties, including those due to natural variation and measurement and model error and those incurred by handling problematic data, such as outliers. We randomly selected 132 papers published in 2019 from a list of 100 scientific journals to characterize the current state of uncertainty reporting in ecosystem studies. Each paper was evaluated for the extent to which it reported measures of uncertainty in any of four topic areas common to ecosystem studies: vegetation, soils, precipitation, and surface water. We found that most papers reported a minority of the uncertainty sources we deemed relevant. Papers on surface water reported the highest fraction of uncertainty sources (averaging 47% ± 5%), followed by soils (45% ± 4%), vegetation (32% ± 4%), and precipitation (21% ± 8%). A greater fraction of relevant uncertainty sources were reported when the topics were the primary focus of the paper (44% ± 3%) than when they were not (32% ± 4%). Sampling error—the uncertainty in replicate measurements—was the source most commonly reported in studies of vegetation (84%), soil mass (56%), and surface water (76% of papers). The source of measurement error most often reported was chemical analysis, with 41% of papers on surface water and 75% of papers on precipitation reporting this source, if applicable. In contrast, only 1 of 12 papers reporting chemistry of vegetation provided information on analytical uncertainty. Fewer papers reported what methods were used for handling missing or unusable data and observations below detection limits, but it was difficult to judge whether these sources were relevant if they were not mentioned. Finally, we found that a minority of the papers made all (21%) or some (an additional 21%) of their data available in online repositories, after correcting for a failure rate of 13% of the links. Clearly, there is room for improving the completeness and transparency of scientific reporting in ecosystem studies. [ABSTRACT FROM AUTHOR]

The paper aims to contribute to the advancement of the theoretical and conceptual development of the field of media and literary studies, as well as to address the gaps, limitations or controversies in the existing literature. The paper also explores how news genre and fiction format affect the level and quality of interaction between the writers and readers of news stories, as well as the impact and influence of news stories on the Nigerian society. The paper uses a qualitative content analysis to analyse the news articles and fiction books that are selected for this study, according to the criteria of news genres, fiction formats and interaction. The paper finds that the hybrid fiction format is the most consistent and popular among the news genres, as it combines and blends elements from different fiction formats. The paper also finds that the investigative news genre is the most engaging and appealing among the news genres, as it provides in-depth, original and exposé reports of hidden or controversial matters. The paper argues that news stories and journalism genres are not neutral or objective, but rather social and rhetorical constructs that shape and are shaped by the communicative practices and purposes of discourse communities. The paper concludes that news stories and journalism genres are dynamic and evolving, as they respond to the changing social, political and technological contexts. The paper also discusses the implications, limitations and contributions of the research for the field of genre and media studies. [ABSTRACT FROM AUTHOR]

Copyright of Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci 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 Itinerários - Revista de Literatura is the property of Itinerarios - Revista de Literatura 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 Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador 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.)

The paper addresses a few aspects of approaches embracing the nonhuman in literary and cultural studies and in theoretical approaches associated with the category of posthumanism. I connect such approaches with post-structural theories, finding in them connections with the later readings of the Anthropocene and their critique of anthropocentrism. Roland Barthes's "deauthoration" of literary works clearly gestures towards an opening to the other, which in more recent approaches has been adapted into complex networks and connections with Donna Haraway's companion species. Similarly, Derrida's problematization of the division into inside and outside takes part in looking for reconnections with broadly understood environmental thinking. My task is to show that variously labelled critical and post-critical discourses can hardly be divided into separate, specialized disciplinary fields, but constitute a network, or a composition, of proposals addressing the spectre of the necessity of changing the great divide of man and nature. [ABSTRACT FROM AUTHOR]

The purpose of the study is to determine the peculiarities of the poetics of the literature of new sincerity as polemically sharpened against postmodern irony, scepticism and cynicism and to identify the poetics of new sincerity in K. Ishiguro’s novel “Never Let Me Go”. To achieve this goal, the author uses cultural-historical, cultural-philosophical, hermeneutical research methods. The paper traces the formation of the concept of ‘sincerity’, which has been transformed over many centuries, acquiring new meanings against the background of different eras. The concept of ‘sincerity’ is considered in the context of cultural philosophy and literary criticism. Much attention is paid to the opposition between the new sincerity and postmodern irony, which is analysed not only as an artistic manifestation but also as a way of thinking. The phenomenon of new sincerity is considered in the work as a reaction to the socio-cultural shifts that led to the end of the postmodern era. The research attempts to identify the differentiating features of the poetics of the works that make up the layer of the literature of new sincerity. Among them are the peculiarity of the issues, which consists in the aggravation of problems of a more intimate, personal nature, the originality of the hero, who is a reflective personality who pays great attention to his inner world, is concerned with the issue of self-identification; characteristic narrative style, which is characterised by the presence of a diegetic narrator and a confessional character; deep psychologism and empathy; appeal to universal values; self-irony as an indicator of the writer’s individual style or the complete absence of irony. Kazuo Ishiguro’s dystopian novel is studied from the perspective of aesthetics and poetics of new sincerity. The study has made it possible to draw conclusions about the characteristic features of the work inherent in the literature of new sincerity. Thus, the narrative in the work is conducted on behalf of a diegetic narrator who is preoccupied with issues of self-identification and cognition of his inner world. The narrative style invites the reader to an active dialogue and promotes empathy, including for working through their own psychological problems. The fragmentary affective narrative style is supported by the minimal plot intensity, which allows for a deep psychological impact. The images of the novel’s characters are fully consistent with the paradigm characteristic of the literature of new sincerity. The author traces the presence of motifs of home, road, understatement, loss, death, and conscious sacrifice, which are used to implement the humanistic idea of the work, and their into the opposite. The author draws conclusions about the opposition to the new sincerity of postmodernism at all levels of a work of art. Thus, the novel lacks the dominant function of play; on the contrary, the text of the novel is extremely simple, artistic means are minimised, and the narrative style is as close as possible to a conversational diary confession. One of the aims is to find ethical absolutes that could be relied upon in a globalised world where all borders have been erased. The novel’s eclectic and fragmentary images of postmodernism give way to complex, multifaceted, and carefully drawn ones. The behaviour and various reactions of the characters are psychologically motivated. The novel shows a refusal to depersonalise the action due to the dominant function of the diegetic narrator and a complete rejection of postmodern irony. [ABSTRACT FROM AUTHOR]

Copyright of Acta Neophilologica is the property of Acta Neophilologica 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 Journal of Oriental Studies / Sarkiyat Mecmuasi is the property of Istanbul Universitesi Edebiyat Fakultesi 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 Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin 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.)

Despite a near-universal acknowledgement of the mimetic power of Yuri Trifonov's writing, both Soviet and contemporary criticism read tends to read his characters allegorically, as representatives for moral, historical, or ethnographic categories. Taking inspiration from a 1972 essay by Trifonov himself that insists on the equal treatment of literary and living persons, this paper examines the peculiar ways in which minor characters are depicted across Trifonov's oeuvre precisely because of the author's commitment to treating his characters as representations of living individuals. Starting with Alexander Woloch's concept of the "character-space," the first section of the article looks at the ways in which the fates of minor characters are consistently given account no matter their significance to the narrative, arguing that Trifonov's character system is one built upon the principle of acquaintance and not. The second half of the article looks at the prominence of physical objects in Trifonov's works that serve as indexes for absent characters, marking a shift from representation through depiction towards a novel technique of the "indexical characterization" in Another Life (1975) and The Old Man (1980). [ABSTRACT FROM AUTHOR]

Copyright of Black Sea / Karadeniz is the property of Black Sea / Karadeniz 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.)

Archival research is a key aspect of literary journalism practice. This study uses one facet of the author's grandfather's testimonial transcript and derives from it a suite of Found Poems. Found Poetry requires critical analysis, creativity, reflexivity, and thoughtful perspective, much as does literary journalism writing. It is this connection between Found Poetry and the rigor and factuality of journalism that is pursued in this practice-led paper to argue that there is substantial value in Found Poetry as refined literary journalism, especially within the research sphere of generational storytelling as it relates to Holocaust trauma. The work examines the meeting point between journalistic research, testimonial profiling, and poetry, and provokes questions of perspective about how literary technique and form can influence the meaning of the original survivor story. These are crucial questions writers of history and family story must reckon with as the original storytellers recede into history. [ABSTRACT FROM AUTHOR]

Copyright of Felsefelogos is the property of Felsefelogos 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.)

The very existence of truth, let alone its worth, is currently under attack from many quarters. In the wider culture, disinformation and other forms of misrepresenting the truth spread far and wide, as information conduits proliferate. This paper suggests some reasons for the "anti-truth" trend. Mainstream media have played a role, as have theoreticians from fields as diverse as philosophy, psychoanalysis, science, and literary criticism. "Anti-truth" trends are having a serious impact on psychological treatment, affecting its content and the conception of its goals. This paper suggests some problematic outcomes of this phenomenon for practitioners and patients in various forms of psychotherapy. [ABSTRACT FROM AUTHOR]

Copyright of Antik Tanulmanyok is the property of Akademiai Kiado 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 study aims to analyze the differences in reception between Western and Romanian academia regarding the study Creolizing the Modern by Manuela Boatcă and Anca Parvulescu, a work that brings together the approaches of inter-imperial studies (Laura Doyle) with world-system analysis, a productive aspect for recent literary studies using the Wallersteinian grid. The volume has had a significant impact in Western academic circles, being reviewed in several publications, but has received little attention in Romanian academic circles, with the exception of the issue dedicated to it in the journal Transilvania. In a similar way, both Manuela Boatcă’s doctoral thesis (which, although in the sociological sphere, starts from Maiorescu) and the volume Laboratories of Modernity (which problematizes the political conception of Maiorescu and Eminescu) have remained neglected. This phenomenon indicates a certain “resistance” of Romanian academia to sociological and interdisciplinary approaches, partly due to a long tradition of literary autonomism. The aim of this paper is to highlight this tension between the sociological perspective and the tradition of literary autonomism and to explore the reasons why approaches investigating the intersection of social factors, ideology, economics and politics are not well received in Romanian literary studies, but at the same time enjoy recognition in the West, while pointing out contributions from the Romanian area that depart from the theorists’ project or apply the inter-imperial grid in a distinct manner. [ABSTRACT FROM AUTHOR]

Copyright of Modern & Contemporary France is the property of Taylor & Francis Ltd 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 article is an attempt to read Thomas Davis' poem "The Sack of Baltimore" (1845) from a literary-historical perspective. It explores Davis' representation of the sack of Baltimore village, West Cork, Ireland as a historical event depicted from a literary angle. A typical nineteenth-century historical Irish ballad, "The Sack of Baltimore" has not only remained at the margins of literary studies, but even where it has received attention, it has mainly been treated as a historical source material on an Algerian piratical raid that has come to be called "the sack of Baltimore". This paper proposes that we need to reread the Irish poet's narrative poem with a stronger interest both in its literary composition and historical contexts. Only in this way would it be possible to do justice and draw more sustained attention to this hitherto understudied lyrical narrative poem. [ABSTRACT FROM AUTHOR]

Mária Jančová (1908 -- 2003) has been primarily known as the author of children's books. This paper, however, aims to focus on her -- largely overlooked -- poetry. After an initial mapping of the theme of motherhood in Slovak women poets from the late 19th to the mid-20th century, the article takes a look at the phase of Jančová's writing career when she authored poems. Some of these were published in her only collection of poetry, Blahoslavení ([Blessed] 1940, 1968). The article provides a close reading of several poems and comments on the flowing of energy between the movements of the body (external movements and internal processes) and nature, with reference to the notion of "lyrical gestures" as defined by the French literary scholar Dominique Rabaté. It also discusses the image of the bodily connection between the mother and her sick little son and the transmigration of the human element into meteorological phenomena and flowers. The poet's inclination towards the country life connected to the elements and rhythms of life (in this collection) or her confessional-referential poetry of sentiment (present in other poems) may resonate with contemporary readers or inspire theory of the lyric. The essay's theoretical framework is based on the conceptualisation of motherhood in literary studies, philosophy, and art theory, and on theories that connect aesthetics with bodily processes. [ABSTRACT FROM AUTHOR]

Copyright of TEME: Casopis za Društvene Nauke is the property of TEME: Casopis za Drustvene Nauke 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.)

The period from the 1960s to the 1980s under Brezhnev is stamped in history, both Soviet and Uzbek, as “stagnation.” Particularly for Uzbekistan, this period is known for such stigmatized events as the “cotton” or “Uzbek” scandal – the investigation into Uzbek First Party Secretary Sharaf Rashidov (1917-1983) for misrepresenting cotton harvest results during his twenty-four-year tenure – and the Afghan war (1979-1989). The experience of striving to save the nation from the aggressive system and stereotypes of society, from the "values" of slavery and subordination, is reflected in some examples of 20th-century Uzbek literature. The most prominent figures in XX Century’s Uzbek literary history, Said Ahmad (1920-2007) in his novel Silence (Jimjitlik, 1988) and O‘tkir Hoshimov (1941-2013) in Lives Passed in Dream (Tushda kechgan umrlar, 1992) fell apart from the literature written as the Soviet Union describes the events of this period through a prism of moral monikers. Their understanding of their place in the world has always been through their connection to the nation. Social anxiety for them is inextricably linked to artistic anxiety and vice versa. Writers took it upon themselves to unmask the sins associated with this period, such as “two-facedness” (qiyofasizlik), bribery, fraud, cruelty, and bloodthirstiness (in reference to the Afghan war). The novels focusing on the “stagnation” period played an important role in transforming these moral criticisms of Soviet rule into criticisms of Soviet rule as colonial exploitation and serve as an attempt to unmask the horrors and misdeeds behind Soviet officialdom that have long gone unnoticed. In this paper, I will examine some of those moral constructions and how they framed the period in the minds of post-Soviet Uzbeks. The literary interpretations of the problems in stagnation will be analyzed in the historical, cultural, political and literary context. I hope this paper contributes to the research carried out on Central Asian studies, including Uzbek Literature Literary history, which is known very little worldwide. [ABSTRACT FROM AUTHOR]

V. S. Naipaul's novel A House for Mr. Biswas depicts the peculiar phenomenon of the protagonist Biswas's lifelong pursuit of "a house". This paper uses the method of Ethical Literary Criticism to explore the reasons Biswas pursued "a house" throughout his entire life, which reveals the close relationship between Biswas's pursuit of "a house" and the exploration of "identity". This paper argues that Biswas tried to establish his ethical identity as a son, son-in-law, husband, and father by obtaining a house in order to realize his existential value and meaning in life. In this sense, the ethical significance of space is also revealed in the novel by revealing the relationship between "house" and "identity". By focusing on spatial ethics, this paper emphasizes that the "house" in the novel is not only a house, but also has the ethical values of "independence", "personal dignity", "life achievement", and "responsibility and obligation" in the essential sense. [ABSTRACT FROM AUTHOR]

This paper examines Julian Barnes's Flaubert's Parrot by the five semiotic codes of the French literary critic Roland Barthes introduced in his renowned work S/Z, to show that the novel is a 'writerly' rather than a 'readerly' text. The paper defines what Barthes means by the text of the writerly and then attempts to see if the selected novel yields to this sort of interpretation. Since the novel has been categorized as both modernist and postmodernist by prominent literary critics, it can be a proper case to be examined as a writerly text. The paper shows that the codes of semantic, symbolic and cultural which produce the writerly text are at work in this novel whereas the codes of the hermeneutic and proairetic which are concerned with the conventional realist novels are marginalized or even absent. The article examines the writerly text makers of the author role, the theme of biography, the notion of literary criticism and the narration of the novel, referring to the codes creating the writerly text. The paper finally concludes that the semiotic sophistication and innovations in the narrative act of the novel stem from the categories discussed in the essay, ending in the construction of a highly sophisticated writerly text. [ABSTRACT FROM AUTHOR]

The study aimed to examine the development of literary criticism throughout its history from structuralism to postmodernism, using Edward Said's criticism of Orientalism as a case study. A discourse- grounded analysis approach was used to analyze critical texts and articles related to this development. The results showed, according to Said, that the traditional Western depiction of the East is biased and based on power relations, which influenced postcolonial philosophy and the literary canon (Smith, 2018). Said sought to expose biases in Western literature’s depiction of the East (Jones, 2016). His writings have sparked debate about the role of the critic in shaping literary discourse, shifting critical focus toward questions of power, representation, and identity, and increasing opportunities for underrepresented groups to have their voices heard (Brown & Johnson, 2019). Said's critique of Orientalism has influenced contemporary literary criticism, opening the door to a more diverse and comprehensive literary study (Garcia & Lee, 2020). [ABSTRACT FROM AUTHOR]

Laura E. Richards's (1850-1943), the first lady of American nonsense poetry, was among the few nineteenth-century professional women writers who composed literary autobiographies, and the only one who wrote two, one for adult readers and one for children. The present essay argues for reading Laura E. Richards's nursery and Nonsense rhymes as her third autobiography. Unlike her formal autobiographies, which primarily served to maintain a mythic legacy of her renowned parents, Julia Ward and Samuel Gridley Howe, Richards's nonsense poetry subtly subverts the constraints of this narrative. Beneath a playful surface, her rhymes reveal insights and tensions that her official autobiographies strategically obscure. By examining Richards's nonsense verses alongside her autobiographies, personal and historical accounts, and within the broader context of nineteenth-century Nonsense poetry and women's and children's literature, this essay argues for a richer, more nuanced understanding of her life and work. In doing so, it repositions Richards and her poetry within the cultural and literary history of her time, offering both the poet and her oeuvre the critical attention they have long been denied. [ABSTRACT FROM AUTHOR]