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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.)

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]

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 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]

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]

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 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]

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]

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]

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.)

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]

This paper delves into the portrayal of Dalit everyday experiences in Ajay Navaria's short story collection, Unclaimed Terrain (2013). The study examines how Navaria's narratives draw from both real-life incidents and fictional storytelling to shed light on the struggles faced by Dalits in both rural and urban contexts. Through these stories, Navaria portrays the struggles of Dalits in rural and urban settings, critiquing the failures of modernity and the secular nation to provide social equality. The paper discusses how Navaria navigates the tensions between social activism and the art of literature, particularly within the context of Dalit literature. His stories reveal the complexities of the urban Dalit subject, caught between the allure of economic opportunities and the persistent anxiety of caste-based discrimination in the urban spaces. Furthermore, the study explores how Navaria's narratives reflects upon the failures of modernity and the secular nation in delivering on their promises of social equality. Despite the rhetoric of equality and freedom, the contemporary nation-state continues to marginalise Dalits, leaving them to confront fear and exclusion in their everyday lives. In conclusion, Navaria's Unclaimed Terrain offers a compelling critique of the prevailing socio-political landscape. By delving into these complex themes, Navaria's stories call for an inclusive public sphere and underscore the need to redefine the concept of nation as a daily referendum based on shared suffering and collective consensus, ultimately paving the way for a more equitable and just society. [ABSTRACT FROM AUTHOR]

Copyright of Arts for Linguistic & Literary Studies is the property of Thamar 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.)

Copyright of Alustath 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.)

This article focuses on some very short stories by Uday Prakash published as 'autobiographies.' Three of them are in the short story collection Tirich ("The poisonous lizard") first published in 1989; five autobiographical sketches are found in the collection Aur ant me? prārthnā ("And, finally, a prayer") first published in 1994. The focalization on the child character produces an indeterminacy that engages in a delightful game with the final ratiocinations of the first-person adult narrator, especially when the child faces traumatic experiences. In these micro stories, time, space and emotions scroll like a film, moving from within the memory and shaping the self in very mysterious ways. At a metanarrative level, writing appears as a journey on the path of memory, from the past towards the present and perhaps even leaping into the future. [ABSTRACT FROM AUTHOR]

Lília Momplé, a Mozambican author, portrays the coexistence between black and white men and women in her works. By contesting the colonial legacy, the author contributes to the subaltern's voice. In this paper, we discuss how black characters, women in particular, in the short story collection No One Killed Suhura, are oppressed by colonialist societies. This text addresses the violence of social, racial, and sexual inequalities and the power relations established between colonizers and colonized during the twentieth century in Mozambique. We will see that some of the literary strategies used include the omniscient focus of the narrator, the relationship between history and literature, and irony. [ABSTRACT FROM AUTHOR]

Copyright of Arts for Linguistic & Literary Studies is the property of Thamar 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 article is devoted to the category of space in adaptation studies. As the author argues, it is necessary to develop transdisciplinary tools that link formalistic and cultural approaches in comparative studies. The author proposes to use spatial properties such as center-periphery, internal-external, open-closed, as analytical tools in studies of space that can break the above divisions. As he argues, these notions should be treated in research not only as textual qualities, but also as conceptual frameworks triggering many different associations and discourses. The text that shows the benefits of using these analytical tools are Sąsiady, a collection of short stories by Adrian Markowski, and its film adaptation by Grzegorz Królikiewicz. Creating a representation of people from the social peripheries, the director makes significant changes in relation to the literary text. Królikiewicz tries to make a viewer take a different look at the social peripheries. Various formal experiments serve this purpose, above all the play with space, which is at the same time a play with social discourses. The author characterizes center-periphery, internal-external, open-closed relationships in both texts. He not only points out differences between literary and film text but shows how both media can think "about space" and think "through space". [ABSTRACT FROM AUTHOR]

This article analyzes “Cadáver,” a short story in the collection Barrio bonito (2015), by Venezuelan author Luis Freites. It argues that, rather than creating an afterlife for the dead characterized by processes of mourning, commemoration, and memorialization, the story captures the body’s afterdeath: the slow decomposition and transformation of the corpse from organic matter to bones and dust. Through the staging of an aesthetic gesture described by Maikel—the story’s protagonist—as “mirar pa’ dentro” (to look inside or to look into one’s insides), a temporality determined by the tempo of decay, and the multisensory attack of leaky dead matter dripping from the corpse, the afterdeath that materializes in “Cadáver” creates what I, following the work of Michael Rothberg and Venezuelan poet Igor Barreto, call “networks of implication.” These networks build connections between bodies both human and nonhuman based not on empathy, compassion, or familiarity but on contact, contagion, and unsettling moments of intersection and recognition. I propose that, in doing so, they introduce a form of relationality that is not mediated or circumscribed by grief, and that demands a radical renewal of political vocabularies and a reorganization of social life that has, as its core, the collectivization of death. [ABSTRACT FROM AUTHOR]

The writer Mary O’Donnell (County Monaghan, 1954) is one of Ireland’s most prominent authors. She has published eight collections of poetry including Unlegendary Heroes (1998), The Ark Builders (2009), Those April Fevers (2015) and most recently Massacre of the Birds (2020), four novels, among them The Light-Makers (1992), The Elysium Testament (1999) and Where They Lie (2014), and three collections of short stories: Strong Pagans (1991), Storm over Belfast (2008) and Empire (2018). She has also published a dozen essays and hundreds of reviews of both theatre and books. Besides, she is a frequent contributor to RTE Radio. Her voice and presence in Irish letters has been closely connected to the culture of her country. Her literature reflects the spirit of the age in which it is produced and revolves around phenomena that deeply affect the world today. Her range of subjects includes gender identity crises, mental instability, marriage in relation to female experience, sexuality, domestic and gender violence, child abuse, the artist in crisis, infertility, dysfunctional families, ecology and the natural world and the “Troubles” in Northern Ireland. Her works, written with immense talent, vivacity, skill, cleverness and humor, have been translated into several languages. In this interview, Mary O’Donnell discusses her most recent works in poetry and narrative: her collection of poems Massacre of the Birds (2020), her collection of short stories Empire (2018) and the novel Where They Lie (2014). [ABSTRACT FROM AUTHOR]

Copyright of Družboslovne Razprave is the property of Druzboslovne Razprave 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 Ondina - Ondine is the property of Universidad de Zaragoza 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 Ways of White Folks (1934) is Langston Hughes's first collection of short stories. Inspired by the reading of D. H. Lawrence's The Lovely Lady (1927), the fourteen stories collected in this volume offer a disillusioned portrait of that early-1900s black America torn apart by the Du Boisian double consciousness. Through sharp and direct language, these stories present poignant daily-life incidents dealing truthfully with--in Hughes's words--"some nuance of the race problem." Among the wide array of issues touched on, the dichotomy classical versus black music becomes a powerful identity trope, remarkably in "Home" and "The Blues I'm Playing", whose protagonists stand between the Western classical tradition--a marker of a presumably "higher" culture--and black vernacular music, notably blues and jazz, revealing their allegiance to "authentic" blackness. The staging of this musical double consciousness is further complicated by the contradictions of patronage and the power relations involved in the white patron-black artist relationship. The paper tackles these musical identity dilemmas by comparing the allegedly polarized dichotomy of classical vs black music of the 1930s against today's more intricate scenario. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia 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 article is devoted to the study of the short story genre in the context of the second half of the twentieth century American literature, an attempt is made to show the way of the genre from the form of standard story to so called "psychological sketch". The short story manifested the national originality of American prose, the peculiarities of the national character and local color earlier and more fully than other forms. It developed the traditions of folk stories, folk humor, and satire. The object of analysis is J. Updike's short story "Pigeon Feathers", that is concentrated on the middle class problems of American society and the "ordinary Americans". Updike became an innovator in the short story genre, embodying the best ideas of his predecessors and developing his own ideas of genre diversity. According to both national and American critics, the main stylistic feature of Updike's short story collections is the close connection between them, most of them continuing each other, leaving behind a through plot and a single emotional experience. [ABSTRACT FROM AUTHOR]

The essay is dedicated to the work of the Mexican writer and film director Juan Manuel Torres (1938-1980), who had lived in Łódź in the 1960s for many years and studied directing at the film school there. His prose is strongly influenced by Polish literature and culture. Torres' work is currently experiencing a rediscovery: the historical-critical edition of his Obras completas [Collected Works] was recently published (2020 and 2021) by the Mexican publishing press Nieve de Chamoy (two volumes so far, the last third is announced for the end of 2023). The aim of this paper is to present and interpret Torres' literary work and to outline its biographical, historical, and theoretical contexts. What concept of literature and art can be found in his autofiction? In Torres' work, the reality of the Cold War meets the atmosphere of the sexual revolution of the 1960s. The author registers changes in the sexual morality and deconstructs gender stereotypes. In his prose, one can find some (for his times) provocative motifs, such as abortion, homosexuality or ménage à trois. Torres combines them with a complex poetological reflection on the crisis of representation and the role of art in the light of the beginning of postmodernism and the idea of the "literature of exhaustion." The essay consists of five parts. After discussing the latest edition and introducing the life and work of Torres, I present the literary contexts in which his writing can be placed. The fourth part is devoted to the collection of his short stories El viaje [The Journey], which contains the most interesting texts for the Polish audience in the discussed edition. The last part is a sketch of Torres understanding of literature and art. The focus is on the intertextual allusions to Central European modernism, especially to works by Bruno Schulz and Hermann Broch. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo 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.)