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This article reads Malika Moustadraf’s recently translated collection of short stories as an instance of a new generation of Moroccan female writing that subverts conventional expectations of female fiction and understanding of gender identities in Morocco. Following a narrative criticism approach, the article investigates how Moustadraf uses fiction to communicate an identity crisis when the experiences of the body toggle between desire and disgust, rot and purity, and ultimately, life and delusion. In Moroccan fiction, identity, the body, and sexuality have often been considered a male territory, mostly explored through male lenses. By tackling issues of gender fluidity, cybersex, and body relations in the Moroccan context as early as the beginning of the twenty-first century, Moustadraf’s short stories contribute to an avant-garde female literary tradition that would only gain ground about two decades later. While female writing has long been conditioned by social expectations for language and themes to be feminine, Moustadraf stands out by breaking through the boundaries of taboo identities and excessively polished writing. A close reading of Moustadraf’s long-lost works provides a fresh perspective on the development of Moroccan fiction and gender consciousness in contemporary Morocco. [ABSTRACT FROM AUTHOR]

Luisa Valenzuela's collection of short stories Cuentos de Hades (1993) retrieves and reinterprets traditional folktales from what some experts call a feminist perspective. Using a Lausbergian approach, this work aims to reveal how, in these stories, elocutio emerges from rhetorical devices such as questions, ellipses, and anaphora, as well as from syntax and grammar. Therefore, this work reveals the technical mechanisms involved in a statement for the opening of the senses, possibility and transformation of the protagonists. This transformation is achieved through the use of language to challenge and transgress conventional gender roles associated with traditional literature. [ABSTRACT FROM AUTHOR]

Zayd Mutee Dammaj, is a Yemeni short story and novel writer known for his novel “er-Rehîne / The Hostage”, which has gained wide fame beyond Yemen. The author, who lived between 1943 and 2000, gained fame with his first and only novel, “erRehîne / The Hostage”, in addition to his several collections of short stories. The novel reveals the realities of the Yemeni Imamate that lasted in Yemen between 1904 and 1962 and the management policy of the Imams. It also deals with national consciousness and the struggle for independence. The novel was selected by the Arab Writers Union as one of the top 100 Arabic novels of the 20th century and has been translated into French, English, German, Russian, Japanese, Spanish, Hindi and Serbian. The novel attracted the attention of many critics and writers; it has been the subject of many studies, literary articles and academic theses not onlyin Yemen but also in many countries of the world. Apart from digital editions, one hundred thousand editions of the novel have been published until today. It is stated that this figure is a record number compared to Yemeni and Arabic novels. In this study, technical and thematic issues such as the plot of the novel, language and stylistic features, character analysis were analyzed and also touches on how the Imamate regime that marked the period affected people emotionally and spiritually, and how this regime took away their rights to life, freedom and dreams. [ABSTRACT FROM AUTHOR]

The article examines Narinder Jit Kaur's short story collection, The Icicle, noting its fresh perspective on Indian fiction. Topics include the author's use of creative writing for self-discovery and redemption, the intricate characterization in her stories, and her effective use of mystery as a narrative tool.

Copyright of Ética y Cine Journal is the property of Etica y Cine Journal 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 explores the theme of public transport in African literatures and aims to bridge the gap between mobilities research and African literary studies. It acknowledges the criticism that mobilities scholarship often focuses on the Global North and neglects experiences in the Global South. The article argues for a nuanced approach that considers historical and contextual specificities when studying African literary mobilities. It also emphasizes the importance of shedding light on local, intra-African forms of mobility and challenges the binary distinction between formal and informal public transportation. The article concludes by discussing the limited attention given to public transport in African literary studies and highlights the need to study its literary dimensions. The special issue of the journal further explores the politics and representations of public transport mobilities in African literatures, addressing topics such as accessibility, class, race, and the role of public transport in post-colonial societies. The studies emphasize the interconnected nature of public transport mobilities and call for more research in this area with a broader regional scope. [Extracted from the article]

Ernest Hemingway's short stories have been largely analyzed as individual examples of his writing principle of the iceberg. However, Men without Women has received little attention as a short story composite, in which the form and content of the whole and of its individual stories reflect on each other. As relatively new approaches to the short story composite as a genre emerge, it becomes necessary to reread critically these kinds of works. In Men without Women, Hemingway's grouping of the stories into a single work adds a different dimension to themselves: the composite -- in which the stories become utterly interrelated to each other. In this larger iceberg, the postwar crisis of masculinities gains more visibility than in the individual stories, reinforcing the subversion of gender identities subtly present in them. [ABSTRACT FROM AUTHOR]

The theme of fatherhood in James Baldwin's novels and essays has frequently been the subject of analysis. An examination of the same topic in the single short story collection published in his lifetime, Going to Meet the Man, sheds a new light on the topic given the disruptive and anti-closural potential of the short story cycle, as theorised by critics like Rolf Lundén. By applying theories of queer temporality to these anti-closural strategies, it is easier to understand how Baldwin subverts the role that fatherhood plays in his short story collection. Special attention is drawn to three of the stories. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 locations around us have a profound influence on our actions, thoughts, and behaviours. The major capitals around the world have served as settings for many fictional works that showcase how the psyches of the characters have changed when interacting with these locations. Kuala Lumpur, being one of the bustling cities in Southeast Asia, is no exception. The beauty and vibrancy of the metropolis have been highlighted in numerous creative works. However, its depiction is significantly different in the KL Noir series, which emphasises the darkness and bleakness of a location. In the collection of short stories, KL Noir: Magic (2021), the city plays a pivotal role in influencing and shaping the life trajectories of the characters. This study aims to examine how female characters in selected stories from the anthology are able to build their resilience within the city through the lens of psychogeography. Examined alongside Mikhal Bakhtin's concept of the Carnivalesque, the characters' abilities to inverse social hierarchy and create a temporal escape as they engage with their surroundings within Kuala Lumpur are explored. The diverse set of female characters found within the selected stories consists of struggling working-class women, a retiree, a robot, and ghosts; it establishes a more robust connection between these characters and the city. Finally, the study shows how the effects of psychogeography and carnivalesque are able to transcend various forms of female existence and lead to female resilience. [ABSTRACT FROM AUTHOR]

El género de la novelización cinematográfica está presente en la cultura popular española desde los años diez del siglo XX hasta hoy. Durante los años veinte, igual que en el entorno internacional, la novelización vivió en España un primer momento de esplendor. Vamos a acercarnos al mismo a través del caso de dos novelizaciones que se publicaron a partir de la adaptación al cine de El cura de aldea (Florián Rey) en 1926, primera de las filmadas a partir de la obra literaria que Enrique Pérez Escrich escribió en más de un formato a mediados del siglo XIX. El estudio de ambos textos nos permitirá avanzar en la caracterización del fenómeno de la novelización durante los veinte en relación con el panorama nacional e internacional, el denso entramado comercial que la rodeaba, y la forma en cómo se construía desde el punto de vista literario, con el cine al fondo. [ABSTRACT FROM AUTHOR]

María Teresa León's Las peregrinaciones de Teresa is a short story collection published in 1950. This article examines two of its stories from the perspective of the neologism transmemoria, which the author presents in her introduction, with the aim of exploring its critical potential for analyzing the essential meaning of the stories. This allows us to question the use that Hirsch, Young and Bedingfield have made of the concepts of postmemory and transmemory since the early 21st century to highlight the value of the production of "vicarious" discourses about the past by the second generation of exiles and immigrants based on their own reinterpretation of the trauma suffered by their parents. From the analysis of the two narratives and León's use of the term transmemoria, this article argues for an alternative model of memory in which the resulting narratives have an emancipatory role and in which utopia prevails over trauma and experience over inheritance. [ABSTRACT FROM AUTHOR]

The article investigates the literary anthropocene scenarios proposed by José María Merino in the short stories collection Noticias del Antropoceno (2021). This politically committed work reframes the narrative on the human-nature relationship in a realist perspective, a novelty in comparison with the author's previous writings of fantastic genre. Starting from theoretical reflections on the concept of "Anthropocene", a number of short stories from the volume are examined, thereby ascribing the collection the category of literary ecology. The analysis of extreme but real settings in the stories, such as the plastic island or 'Pacific trash vortex', shows how literature can make environmental catastrophe visible, in order to promote ecological ethics and awaken the dormant consciences of readers. [ABSTRACT FROM AUTHOR]

Prolific author of collections of short stories, microstories and novels, Manuel Moyano has developed over the years a narrative universe characterized by a disenchanted vision of reality and a clear writing in constant balance between a realist representation of facts and the creation of dystopian worlds. This study aims to analyze how Moyano builds worlds parallel to ours starting from the three different literary genres mentioned above: in particular, some passages from the novel El imperio de Yegorov (2014) will be analysed as well as some stories from the collection Los Reinos de Otrora (2019) and some microstories from the Teatro de ceniza collection (2011). Through the creation of these dystopian worlds, Manuel Moyano also elaborates a constant philosophical reflection on time as an unsolvable enigma and as a supporting element of the chronotopes of these different fictitious universes. [ABSTRACT FROM AUTHOR]

This essay opens with a creative response to Éilís Ní Dhuibhne's short story 'The Shortcut through IKEA' and continues with a reader's appreciation of her 2012 short story collection The Shelter of Neighbours. Consisting of fourteen stories, the collection is set in the fictional south county Dublin estate of Dunroon Crescent. Each story draws, in one way or another, on the Irish proverb ar scáth a chéile a mhaireann na daoine ('people live in one another's shelter'). Dunroon Crescent is a community in proximity, where connections have either been forged or exist solely because of geography. The estate's inhabitants are detached from themselves and each other but their lives also overlap and intersect, illuminated by the light of their pasts, by remembered loss and the legacies of earlier choices. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of The L N Gumilyov Eurasian National University Political Science Regional Studies Oriental Studies Turkology Series is the property of L.N. Gumilyov Eurasian National University 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 purpose of this study is as an effort to interpret the short story Peminspin Gelap by Intan Pramataditha in the perspective of magical realism. The value of education is also present as one of the aspects studied because it can provide new knowledge for readers and is considered important to learn. The approach used is to use qualitative methods that focus on semiotics, content analysis, and hermeneutics. The source of the data was obtained from the main object of this study, namely the short story book Peminspin Gelap by Intan Paramaditha. Other data used to support this research relate to magical realism such as book references, some relevant research and electronic journals taken from the internet. Data collection is carried out by reading and recording techniques. The results of this research can be found data from the representation of magical realism in the short story Dark Spinner by Intan Paramadhita. First, magical realism data was found based on the meanings and symbols of images on the cover of the short story anthology book Female Magic, and the cover of the short story Dark Spinner pen. Then, data were obtained from the analysis of story texts based on Wendy B. Faris's theory, namely: (1) irreducible elements were found two data; (2) the phenomenal world (Phenomenal World) found two data; (3) Unsettling doubt found four data; (4) Merging realms found one data. Then, the value of education was found in the short story Dark Spinner by Intan Paramadhita, namely the value of religious education [ABSTRACT FROM AUTHOR]

This paper examines Philip Huynh's short story collection The Forbidden Purple City in relation to its engagement with the nativity–territory–citizenship triad on which Western socio-political communities found the principles of affiliation of their members. First, the Canadian reaffirmation of a discourse of national benevolence is contextualised to later draw on how the collection is nurtured by boundary-crossing ethics that interrogates any sequential relation between past and present, Vietnam and Canada, which usually structures refugee narratives. It is argued then that disruptive and productive time/space interconnections delegitimate any simplistic representations of easily assimilated grateful refugees, fracturing the convenient narration of Canada as a benefactor concerned with old and new international humanitarian causes. The newness of Huynh's stories relies on their mobilisation of the discourse of state citizenship through exceptional migrancy and its disruptive border nature. In contrast to premises of birth and geographical territory, which lose ground as backbones of any affiliation, citizenship appears incomplete and processual. The stories use the precarious performativity of collective homogeneity expected of a former settler colony, like Canada, to launch agency and resistance to state homogenisation, and de-institutionalise the refugee subject to critically intervene sovereignty and political subjectivity. Finally, the stories evince that Canada's social spectrum is ideal to explore the threshold opened by the adjacency of sameness and otherness embodied by Huynh's protagonists. Their condition as diasporic refugee subjects augments the transformative potential of new refugee narratives, in which literal and metaphorical polymorphous borders unveil the bases of the contemporary Canadian socio-political community. [ABSTRACT FROM AUTHOR]

The poem "War Clouds" by K. V. Raghupathi is presented. First Line: Smoke from the rubble; Last Line: that begins to unfold the painful phantom memories.'

The article examines distinguished writer Gurney Norman's impact on the short story genre and his literary contributions. Topics discussed include his personal influence on Morris Grubbs, the role of Kentucky in short story development, and Norman's connections with notable writers such as Eudora Welty and Wendell Berry.

The article presents an interview with Sean Anderson, a filmmaker based in Lexington, Kentucky. He discusses his career in documentary filmmaking, including notable works like "Rock That Uke" and "...damn bad oyster: The Times of William Goebel, Governor." Topics include his education, inspiration from personal and regional history, and his latest documentary "Gurney Norman: A Work To Do."

This paper analyzes and interprets the prose of Ernest Koliqi including his short story collections Hija e maleve (“The Shadow of the Mountains”, 1929), published in Zadar; Pasqyrat e Narçizit (“The Mirrors of Narcissus”, 1934), published in Bari and Rome; Tregtar flamujsh (“Flag Merchant”, 1935), published in Tirana; and the novel Shija e bukës së mbrume (“The Taste of Leavened Bread”, 1960), published in Rome. Pasqyrat e Narçizit/“The Mirrors of Narcissus” (1934) is written in a style between poetry and prose. In Hija e maleve/“The Shadow of the Mountains” (1929), the author remains truthful about Albanian traditions. The theme of this collection portrays the main elements of the Albanian way of living and their mentality. The central aspect of Koliqi’s works deals with the drama of the homeland, the struggles of the Albanian intellectuals in general and those of Shkodër in particular. Most stories present cohabitation with mythological creatures; however, there is also Tregtar flamujsh/“Flag Merchant” (1935) which shows modern symbolism with an element of psychoanalysis. In Shija e bukës së mbrume/“The Taste of Leavened Bread” (1960) Koliqi writes about life, the struggles, and the atmosphere of Albanian life. This novel is filled with patriotic, social, and moral values of the Albanian people, even though the main character of the story lives in Albania and abroad. Ernest Koliqi’s characters are typical Albanian people, and the spirit of his works is also of the typical Albanian spirit. [ABSTRACT FROM AUTHOR]

Aim: In postmodern culture, culture has become a product in its own right; the market has become a substitute for itself and fully as much a commodity as any of the items it includes within itself. The aim of this essay is to analyze the concept of culture in the collection of short stories entitled Lovely, Deep, Dark and I Am No One You Know by Joyce Carol Oates through Fredric Jameson's theory of postmodern culture. Method: The methodology of this study is based on Jameson’s theory. According to Jameson, postmodern culture is the internal and superstructural expression of a whole new wave of American military and economic domination throughout the world: in this sense, as throughout class history, the underside of culture is blood, torture, death, and terror. Lovely, Deep, Dark and I Am No One You Know represents the spot of a postmodern man's struggle with his background and real culture. Findings: The results show that there are distinctions between the Real and the culture. It might be anticipated that the selected short stories can be categorized as postmodern fiction. Moreove, the stories are associated with an avant-garde movement in which nature is gone and this feature can be seen in all collections of the stories. They create a deconstructed condition in which there is no direct relation between social beings. The setting of the stories reminds the postmodern society which is the metaphor for the current American society with a revolutionized culture in which violence and Schizophrenia result in a crisis of identity. Conclusion: The essay concludes that the present society is a fabricated system devoid of liberty and freedom. The place that the authors have created in the stories is devoid of natural life and happiness. It is a fabricated place in which the people are programmed like robots. Throughout the stories, the authors represent technological pessimism which refers to the sense of disappointment, anxiety, and menace in subjects due to technological issues. They are used to captivate human beings. The researcher contributes to identifying the main cause of Oates's attack on her characters in these collections. The main purpose of this research paper find the cause of Oates's message in a postmodern world. [ABSTRACT FROM AUTHOR]

This study aims to better understand the authorial figure of Vladislav Vančura by reconstructing the critical and literary-historical image conveyed to us by the reception of the writer during his lifetime, starting with the writer's first short story collections and finishing with his Obrazy z dějin národa českého ('Images from the history of the Czech nation'). Loosely following on the theoretical bases of previous discussions, which in various ways conceptualize the effect of the 'name of the author' in relation to his work (Foucault, Bourdieu, Russian formalism, Mukařovský), this study examines Vančura's literary output through the lens of its author (as a constructed figure and category), especially in terms of the author function as it serves to form this output into a unified whole. It deals with changes in the name of the author mainly in relation to Vančura's reception. During the interwar period the critical reception captured the creative phenomenon of the writer in the course of his development, at a moment when his extreme style and language caused numerous controversies which grew into open polemics. While these revolved primarily around the issue of aesthetics (in the case of Pole orná a válečná and Poslední soud), they involved broader worldview and ideological issues (as with the novel Tři řeky). Vančura's persistent search for a narrative form repeatedly compelled critics and interpreters of his time to reassess the criteria and critical standards for literature. This study traces the transformations of the author's image in this context all through his life as it assumed countless 'faces', subverting the traditional assumption of coherence in Vančura's literary output that the concept of the author was meant to guarantee, and thus demonstrating -- given the failure of this concept to bring about such coherence -- how it is necessary to look instead for those places of incoherence, contradiction, and disparity. To this end, the study does not seek to cover the history of Vančura's reception in all its facets but to trace those significant moments when the image of the author and his work was transformed, challenging unequivocal interpretations and defying the interpretative stereotypes and schemes into which it has so often been confined. [ABSTRACT FROM AUTHOR]

The short story collection Las voladoras, published in 2020 by Ecuadorian writer Mónica Ojeda, consists of eight stories that are shaped by an imaginative blend of the uncanny, violence, and the feminine. Within this narrative context, the aim is to address the assembly of women's bodies as heterogeneous constructs in relation to the violence they must confront, thus configuring posthuman subjectivities. We propose that in these stories, there are relationships between humans and non-humans that could be associated with what Donna Haraway terms "queer kinship." These relationships reveal ways of articulating women's identities with an explicitly collective and posthuman dimension, where Haraway's concept of "becoming-with" becomes paramount: "To be one is always to become with many". The reason these stories adopt this stance is because strictly human relationships, particularly those of men toward women, are highly hostile, marked by an excess of power and, therefore, violence. This motivates the need for women to generate complex, intergenerational, and vital connections among themselves and with other living entities, where such human exceptionalism can be nullified, contested, and/or transformed. [ABSTRACT FROM AUTHOR]

Copyright of Études de Stylistique Anglaise is the property of Societe de Stylistique Anglaise 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 given text is a translation of a short story titled "Le spose della città non leggono i giornali" (City Brides Don't Read the Papers) by Anil Yadav. It explores the lives of female sex workers in the red-light district of Banaras, India, and delves into themes of social fragmentation, gender, class, and caste-related issues. The story provides a vivid portrayal of the city of Banaras, highlighting the blurred boundaries between different aspects of life in the city. The translation project was conducted by Edoardo Elia Avio, who spent several years conducting research in Banaras. The document also includes translation notes and references. [Extracted from the article]

This conversation between Hong Kong author Wong Yi and literary translator Jennifer Feeley took place over email during the winter of 2023 and early 2024 and was conducted in English. It encompasses a range of topics, several of which are drawn from Feeley's own experiences and observations in translating Wong's work and from their joint participation in events during the fall of 2023. Wong recalls the origins of her literary career, highlighting significant milestones such as her four short story collections and her adaptation of Xi Xi's fiction into a Cantonese chamber opera libretto. She also explains how Hong Kong's rich history serves as a muse for her writing about the present day, discussing distinctive aspects of her work, including the importance of the Cantonese language. Finally, Wong reflects on her fall 2023 residency at the University of Iowa International Writing Program, noting the role that translation has played in her work reaching a wider readership, and shares the future directions of her writing. [ABSTRACT FROM AUTHOR]

This study investigates the translation of Emirati culture-specific items (CSIs) into English, a rarely discussed topic in Arabic translation studies. It focuses on a collection of short stories, Dubai Tales, authored by renowned Emirati author Mohammed Al Murr and translated into English by Peter Clark. The short stories vividly portray Emirati daily life, relationships and cultural values, making it an ideal set of data for a case study of translation strategies. With the emergence of the United Arab Emirates as a global multicultural hub, the demand for effective translations of Emirati literature, including CSIs, is growing. Translating effectively will not only ensure linguistic accessibility but also facilitate better worldwide communication of the unique cultural nuances woven into Emirati narratives. The study conducts quantitative and qualitative analyses of Clark's English translation by drawing on Newmark's (1988) cultural categories and Davies's (2003) framework for translation strategies. The analysis revealed that Clark used globalisation, a domestication strategy, to translate most CSIs into English as well as preservation, a foreignisation strategy, to infuse exotic texture. This strategy reflected a careful balancing act aimed at reaching a wide audience while maintaining cultural elements. This study thus offers invaluable insights highlighting the dynamic relationship between culture and language in literary translations, with a special focus on the Emirati context. [ABSTRACT FROM AUTHOR]

From the early modern period onwards, the phenomenon of feral children has led to ontological confusion and thus, has engendered both fascination and repulsion. A 1900 collection of short stories for children by American writer Abbie Farwell Brown titled The Book of Saints and Friendly Beasts seems, however, to depart from this way of thinking. The book includes two short stories about feral children who grow up to become saints ("Saint Keneth of the Gulls" and "The Wolf-Mother of Saint Ailbe"). The unusually close cross-species bonds presented by Brown in her stories can be considered as, what Donna Haraway, in Staying with the Trouble (2016), would call, "kin-making." The aim of this article is to analyse the animality of the two feral boys as a formative element of their identity, stressing that it is the nonhuman Harawayan "oddkins" who shape their characters. Due to their unconventional upbringing, the boys become Catholic saints; crucially, the children choose not to renounce the familial bonds with their oddkins, which, in turn, presents a subtle shift in the portrayal of feral children. [ABSTRACT FROM AUTHOR]

"Angela Carter's Pyrotechnics: A Union of Contraries" is a collection of essays that explores the various aspects of Angela Carter's fiction. The book is divided into four parts, each focusing on different elements of Carter's writing, including the relationship between signs and objects, the musical and performative aspects, the visual devices, and the culinary and corporeal depictions. The editors, Marie Mulvey-Roberts and Charlotte Crofts, highlight Carter's use of explosive metaphors and her ability to disrupt social and political systems. The collection features contributions from scholars around the world and offers new insights into Carter's work. [Extracted from the article]

Since her debut in 2012, Fukazawa Ushio has become a critical voice in the Japanese literary scene, writing about social issues including hate speech against Zainichi Koreans, abuse of migrant workers, gender inequality, and misogyny. One of the significant aesthetic features of her work is the use of food and foodways to explore these issues. This article examines the short story collection The Matchmaker and the five-part food essay "When Yi Tongae Eats," focusing on their sensorial elaboration of Zainichi Koreans' experiences of discrimination and desire to belong, sitting both at the intersection of gender and ethnicity. Fukazawa's sensorial contemplation of the affective values associated with cooking, eating, and drinking, I argue, generates a sense of intimacy among characters and between text and reader that ultimately enables us to expand our understanding of the complexities of Zainichi Korean identity and their place in contemporary Japan. [ABSTRACT FROM AUTHOR]

Cătălin Dorian Florescu's main tropes had been traditionally confined to the stylistic regime of the novel until 2017, when he opted for a short stories format in his volume Der Nabel der Welt. My paper will investigate the themes and dynamics of Florescu's dialect of displacement, cultural transfer and the search for a homeland in this collection of short stories, while also paying close attention to the framework of diasporic identity as it was projected in his earlier works. Drawing on contemporary theories concerning displacement and diasporas, my contribution seeks to explore the specific manner in which these issues calibrate Florescu's original perspective of what it means to have a coherent individual identity against the fragile background of a European one. [ABSTRACT FROM AUTHOR]

The speech act commanding, which is part of the speech act directive, is one of the grammatical materials commonly taught in foreign language teaching to develop the form of scientific sentences. The research aims to look at command speech acts in a collection of short stories by Annie M.G. Schmidt's aim is for readers to understand and increase their knowledge about command speech acts in Dutch contained in short stories as we can produce examples of speech acts. This research uses qualitative enhancement with data collection techniques. This research uses listening and note-taking techniques by listening to the use of Dutch and noting the speech forms of the characters in the short story collection by Annie M.G. Schmidt. The results of the analysis show that the speech acts used in this research are illocutionary because the collection of short stories by Annie M.G. Schmidt contains various forms of speech acts such as assertive, directive, expressive, commissive, and declaration. Based on 5 types of short stories by Annie M.G. Schmidt, namely the short story De Reus en De Draak, the short story Het Meisje dat haar naam kwijt was, the short story De Kikvorst, the short story Het neurievolkje and the short story Het beest met achternaam, there are speech acts carried out directly or indirectly, but there are more direct speech acts than acts said indirectly. [ABSTRACT FROM AUTHOR]

Copyright of Revista Poligramas is the property of Universidad del Valle 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 RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

Anna Vörös's collection of short stories, Vadoma (2022), offers a completely novel perspective on refugees in contemporary Hungarian literature. The collection focuses on Vadoma, a young refugee girl of Syrian origin, who is the first-person narrator of most of the short stories. The reader can follow the young girl's path from Aleppo to Budapest as she faces dilemmas and problems. The main issue of our hero is the fact that she is stuck between two worlds, as her old life and city of origin do not exist anymore, but Budapest has yet to become her home. Her mother tongue and words are no longer enough to express her experiences, but she has not learnt a new language yet. Mariangelo Pallodino's concept of "islandment", which refers to landing without arrival, expresses Vadoma's situation perfectly. The present study examines whether Anna Vörös's short stories can be read in the context of refugee literature, and it looks at how the figure of the refugee appears in them. Special attention is paid to the themes of cultures, religions, languages, and the in-betweenness of identities. [ABSTRACT FROM AUTHOR]

The introduction provides a contextual frame for this issue, underlining the moment in 1992 when Linda Lê claimed to have found her voice, captured in the provocative cover of Les évangiles du crime. A brief biography leads to the summaries of the eleven articles, from renowned Lê scholars as well as new voices. Their contributions resonate with previous work (such as exile and intertextuality), while tracing new lines of study (such as translation, animality, beyond nation). An afterward and acknowledgements follow, including an expression of gratitude for the rich legacy that Linda Lê has left us. [ABSTRACT FROM AUTHOR]

The field of postwar Japanese and international fiction has seen an expanding corpus of texts revolving around kimono. Many works, while tapping into the intricacies of sartorial traditions, contain actualized narratives of young girls and women experiencing or remembering kimono in prewar, postwar, and contemporary Japan. In these stories, the kimono—ever persisting, at times resisting—helps the protagonist to discover self-confidence and agency as they deal with loss, social expectations, family, and national history. This article focuses on Hayashi Mariko's short story collection Stories about Kimono (Kimono o meguru monogatari, 1997) and her more recent novel The Imperial Visit to Ohara: The Story of an Obi-Making Family (Ohara gokō: Obi ni ikita kazoku no monogatari, 2014b). These two narratives work within all of these parameters and illustrate how authors can write consistently about the multiple meanings within kimono. Through analyzing how Hayashi describes kimono outfits and their implications, this article also explores how, as a literary device, the kimono connects with the concept of reality effect; emphasizes the power of the feminine gaze in Japanese literature; and reveals how the limits between fiction and reality can be broken down. When inspired by the specific mode of dress that is kimono, writers can prompt new inspirations for women to create their own stories with it, discarding the cliché of 'yamato nadeshiko' (lit: Japanese pink carnations, used to evoke Japanese demure, feminine beauty) to explore darker and/or more embodied experiences. [ABSTRACT FROM AUTHOR]

The article focuses on a reconstruction of how British writer H.H. Munro, also known as Saki, created the short story collection "Beasts and Super-Beast." Topics discussed include the history of Munro's writing career, his focus on writing stories about the character Clovis Sangrail and his publisher's proposal to use "The Chronicles of Clovis" as the title of the collection.

This article considers how a recent wave of Latin American short fiction captures with immediate topicality new forms of transversal political subjectivity engendered by the international feminist reinvention of the strike in the 21st century. Drawing on Verónica Gago's theorization of the political cartography of feminist potencia (power), alongside the work of Silvia Federici, Rita Segato and Sayak Valencia, it considers how the short story form facilitates a strategic recognition of interconnected violences perpetrated against women and feminized bodies, "mapping forms of violence based on their organic connection, without losing sight of the singularity of the production of the nexus between them" (Gago, 2020, p. 58). In particular, the article examines two exemplary short story collections, Cars on Fire (2020) by Mónica Ramón Ríos and Things We Lost in the Fire (2017) by Mariana Enríquez, considering how these writers repurpose the potential for socio‐criticism embedded in the fantastical short story by offering a multi‐focal critique of how patriarchy and gender violence interact with the structural inequalities unleashed by neoliberal capitalism. The article also considers how these riotous collections mediate the transversal fabric of communitarian struggle in feminist imaginaries, drawing narrative energy from the localised proliferation of neighbourhood assemblies and solidarity networks, while speaking to transnational feminist movements more broadly. [ABSTRACT FROM AUTHOR]

The current study is aimed to find out the use of domestication and foreignization strategies in Manto's short stories. Venuti (1995) states that the domestication strategy makes a translator invisible in the process of translation by confirming to target culture values through the extensive use of target text terms for cultural items. On the other hand, the foreignization strategy makes the translator visible by promoting the source culture values by rendering source text terms for cultural items. The current study explores the two short stories i.e. Toba Tek Singh and Khol Do written by Manto and translated into English. The study highlights the issues of cultural translation. The study aims to provide significant insight into the existing literature about the use of domestication and foreignization to promote the translator's visibility in Urdu-English translation. A detailed comparative textual analysis of the aforementioned short stories suggests that the translator uses both strategies for the translation of cultural items. A thorough reading of the short stories suggests that the translator finds cultural equivalents in the target text for less culturally loaded words and employs the domestication strategy, making the translator invisible. However, the translator opts for the foreignization strategy for certain culture-specific terms that are peculiar to the source culture and have no cultural equivalent in the target culture, making himself visible through the rendering of source text items into the target text. The study concludes that the most dominant strategy used for the translation of culture-specific items in Manto's short stories is foreignization which is in line with the framework given by Venuti (1995) promoting the translator's visibility by maintaining the source culture values and rendering source text lexical items into the target text. [ABSTRACT FROM AUTHOR]

Based on interviews/conversations by the second author with Peter Green, this stimulus article is presented as a collection of anecdotes and short stories in the style of the best-selling 'Harvey Penick's Little Red Book'. It captures the golf coaching knowledge, with its jargon and lingo, of the legendary John Jacobs who had a strong influence on the philosophy and methods of arguably the three most famous golf coaches in the last 30 years (Hank Haney, Butch Harmon and David Leadbetter). Green spent more time learning directly from Jacobs than any other golf coach. Working both with Jacobs and on his own, Green has helped not only some of the greatest golfers in history, but also tens of thousands of golfers who play for fun. [ABSTRACT FROM AUTHOR]

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Maria Anna Mariani's book, "Italian Literature in the Nuclear Age: A Poetics of the Bystander," examines the works of Italian writers Italo Calvino, Alberto Moravia, Elsa Morante, Pier Paolo Pasolini, and Leonardo Sciascia in the context of the nuclear age. Mariani argues that these authors grapple with the conceptualization and unrepresentability of the atomic bomb, reframing political outlooks in the face of this threat. The book also explores the role of the intellectual as a bystander to the nuclear age and its connection to the emerging ecological crisis. Overall, Mariani's work offers a unique and insightful analysis of a theme that has received limited attention in Italian literary and cultural criticism. [Extracted from the article]

The aim of the present study is as follows: The first part consists of a study of Kattan's transcontinental trilogy, highlighting its leitmotifs, narrative style, and especially the socio-historical conditions it reflects, with Adieu, Babylone (1975) receiving particular attention. I will then study one of Kattan's latest novels Le gardien de mon frère (2003), followed by two collections of short stories, an earlier one, La Reprise (1985), then a recent title, Je regarde les femmes (2005), none of which have been translated to date. Having done so, this article will move on to tie the themes of exile and expatriation as reflected in Naïm Kattan's fiction, notably in the trilogy, to the writer's own professed views pertaining to the passage of his multiple being across various nations. [ABSTRACT FROM AUTHOR]

This article revisits the collection of short stories O cego e a dançarina (1980), by João Gilberto Noll, using the expression "bloody fact" ("fato cruento"), presented in the last short story, to explain the evolutions of a violent, destructive imaginary, which transits from eroticism to the effective immolation of the body. From the analysis of these variations, the element can be associated with the fictional landscape defined by the tragic alienation of human life, whether in an intellectual, affective, or libidinal sense. On the other hand, we aim to read it as a resource of human continuity by intervening in this landscape through excess. The experiment would also respond to a metaliterary reflection by dramatizing the narrative and representative limits through the event perspective, here mediated by the theatrical and performative reference dear to Noll's creative imagination. [ABSTRACT FROM AUTHOR]

Deconstructing meanings and their accepted interpretations are the primary goals of stylistics. Feminist stylistics is mainly based on feminist theories, which are particularly interested in patriarchal norms that marginalize and degrade women. This study examines the feminist discourse in Ahdaf Soueif's short story collection Aisha, which is one of the significant works portraying Arab women in a patriarchal culture. Asian women's difficulties are covered in the feminist book Aisha. By putting gender issues at the center of the textual analysis, feminist stylistics exposes the untenable assumptions of traditional stylistics. This feminist approach highlights gender discourses in various texts, including linguistic and thematic disparities. In light of this, the study will explain feminist stylistics, provide a brief overview of Ahdaf Soueif's biography, and use a feminist stylistic approach to Soueif's stories. The author hopes to demonstrate how language's treatment of gender reflects patriarchal culture. In order to evaluate sexism and patriarchal issues in the stories and how point of view, agency, metaphor, or transitivity are tied explicitly to gender by separating women's writing habits from men's writing, this study will use feminist stylistics to analyse the stories at word/phrase, sentence, and discourse level. [ABSTRACT FROM AUTHOR]

The consistent presence of historical narratives within Mary Shelley's oeuvre is remarkable: she composed several short stories and two novels set in the Middle Ages, not to mention the biographical profiles of eminent literary figures of the past she penned for Dionysius Lardner's Cabinet Cyclopaedia. Far from suggesting either the author's escapist intentions or her mere adherence to the literary fashion of the time (popularized by Walter Scott), this essay sets out to investigate the crucial role and the responsibility Mary Shelley attached to history. Alert to William Godwin's treatises − in particular, his short essay 'Of History and Romance' − Mary Shelley firmly believed that, through the knowledge of the past, one could develop 'a sagacity that can penetrate into the depths of futurity'. By focusing on Valperga, this article examines the writer's strategic employment of history as an effective instrument to reflect on current-day problems. [ABSTRACT FROM AUTHOR]