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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]

This article attempts to study a selection of short stories by the contemporary Canadian writer Alice Munro (1931–) focusing on the theme of childhood. It examines the representation of childhood as remembered by adult narrators. The research approaches the stories through the theories of narratology and psychoanalysis. The concepts of the narrator in addition to Freud's theorisation about childhood memories are especially utilised to explore the childhood memories of the adult narrators. The stories selected for this study are 'The Ottawa Valley' (1974), 'Chaddeleys and Flemings' (1979), 'The Progress of Love' (1985) and 'The Eye' (2012) with adult narrators. [ABSTRACT FROM AUTHOR]

Canadian literature, in general, consists of two mainstreams, French and English writings. French writings in Canada often describe Quebec and English writings in Canada often describe Ontario. The Nobel Laureate Alice Munro paints the rural Ontario in most of her works. They are very regional and often becoming the colourful threads of a national dream. She was once called as a regional writer for her regional descriptions. Reading her in deep, a reader can understand the supreme universal themes. She gives clear picture of landscape, environment and climatic condition in her works. She focuses more on places than on human characters. Her works frequently centres on the culture of rural Ontario, Canada. The descriptions of those regional elements spring from the joys and sorrows of the local people and their longings to bring about healthy changes. The layers of Munro's works are simultaneously the old and the new and the regional and the national. Hence, Alice Munro's short story Collection Dear Life can be called as "Literature of Ontario". [ABSTRACT FROM AUTHOR]

Walter Scott's shorter fictions come in different shapes and sizes, and live in different types of publications, whether the periodical, short story collection, anthology, gift book or multivolume novel. Even completed novels were augmented with snatches of new prose that ought to be treated as separate stories. This article examines what I am calling Scott's three main wandering tales: "The Fortunes of Martin Waldeck" (The Antiquary [1816]), "Wandering Willie's Tale" (Redgauntlet [1824]), and "Donnerhugel's Narrative" (Anne of Geierstein [1829]). A wandering tale is essentially a short story that can feasibly stand apart from the novel in which it first appeared but whose textual mobility depends on, and can have an impact upon, the host novel, however belatedly. Within the novels, Scott also surrounds his wandering tales with fictional audiences who comment on the meaning of the story delivered in real time, hijacking the conventions of improvisatory oral storytelling but also deploying print-based tricks that rely on the generic knowledge of readers. Reading Scott's inset fictions as wandering tales relies on a dual understanding of the original print setting and an appreciation of the story's resistance to the formal boundaries established within the novel. [ABSTRACT FROM AUTHOR]

The present article investigates Primo Levi's anthropological readings in Scientific American between the late 1960s and the early 1980s. The fundamental importance of these anthropological publications in Levi's career has long been disregarded by scholars who have studied the influence of Scientific American on the author's work predominantly with regard to scientific and technological articles. After reading Scientific American's anthropological essays and book reviews, Levi's interests soon came to include actual books on folklore and anthropological studies. The present article retraces the path of his readings and provides a series of examples from the short stories collected in Vizio di forma and Lilít, as well as from the essays of L'altrui mestiere. The results of this survey of Levi's anthropological sources also provide new insights into his creative process and lead to a rethinking of the role of ethnography in his intellectual history. [ABSTRACT FROM AUTHOR]

In I giorni dell'abbandono (2002), Elena Ferrante's protagonist, Olga, remembers the women of Simone de Beauvoir's short stories, La femme rompue [The Woman Destroyed] (1967), as 'sentimentalmente sciocche'. Critics have generally interpreted Ferrante's use of Beauvoir as a refutation of her representation of an abandoned woman found in 'The Woman Destroyed', the titular story of the collection. Conversely, this essay argues that Ferrante embraces Beauvoir's 'woman destroyed' as a model. Through an analysis of the works' intertextuality, it demonstrates that Beauvoir's existentialist feminism, as expressed in both 'The Woman Destroyed' and The Second Sex, is a key source for Ferrante's novel. In particular, it offers a new interpretation of Ferrante's ending, highlighting the ambiguous quality of the story's closing lines. [ABSTRACT FROM AUTHOR]

The article discusses the life and work of Kerstin Söderholm, a Finnish writer who was active in the early 20th century. Söderholm's diaries and poems have recently been published online, shedding light on her contributions to Finnish literature. The article explores Söderholm's writing style, her exploration of themes such as modernity and spirituality, and her close relationship with nature. Despite her talent and involvement in the Swedish Writers' Union, Söderholm has been largely forgotten in the 21st century. The article highlights the importance of preserving and studying her work as a valuable part of Finnish literary history. [Extracted from the article]

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]

Literary texts have recursively encountered social psychology and related disciplines, particularly in theoretical frameworks that focus on meaning-making such as the social representations perspective. The present study explores the relationships between text and context in a collection of short stories published in different languages: Women with Big Eyes by Ángeles Mastretta. The oeuvre was examined using lexicometric analyses, i.e., Reinert's Descending Hierarchical Analysis, in order to identify emerging worlds of meaning. From the three analysed versions (the original Spanish, the Italian, and the English translation), different lexical worlds are identified that likewise recreate the general idea of the book. However, interesting variations in meaning-making emerged, as grounded in specific cultural and linguistic contexts. The results appear to legitimise the use of literary texts in social psychological analyses, also in their translated versions, although with some caveat. The paper closes underscoring the importance of studying meaning-making in context, thus enhancing the potential of literary texts for research in social psychology and in related fields of knowledge. [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 Zeitschrift für Interkulturelle Germanistik is the property of Transcript Verlag 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]

Copyright of Oceánide is the property of Spanish Society for the Study of Popular Culture (SELICUP) 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 Kirchliche Zeitgeschichte: Internationale Zeitschrift für Theologie und Geschichtswissenschaft is the property of Vandenhoeck & Ruprecht GmbH & Co. KG 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.)

In the global pandemic era, it becomes more worthwhile than ever for us to consider humanity as a community whose destiny is shared regardless of planetary inequality. Science fiction provides a good vehicle to speculate on the future, especially in the thought experiments regarding high technologization, setbacks of globalization, and ecological crises. This paper explores Han Song's Subway (Ditie) to understand what challenges high modernization—especially technologization and global capitalism—poses to human and nonhuman existence. The collection of short stories overarches its temporal setting from the Anthropocene to a post-Anthropocene era, where the planet is destroyed by an apocalypse. This article approaches Han Song's representation of cybernetic (post)human existence, a situation generated when human embodied experience is subjugated under technological manipulation. Drawing on concepts from new materialist ecocriticism such as ecosickness, it argues that Han Song's subway stories represent the dual crises of the posthuman era—both affective and ecological. These stories express deep concern about the potential apocalyptic impact of techno-utopianism, exploitative expansion of global capitalism, and historical teleology. [ABSTRACT FROM AUTHOR]

"A Message" ("Yige kouxin") is one of eleven short stories in the collection 1966 by mainland poet, essayist, and professor emerita Wang Xiaoni. The book was published to great interest in 2014, but was quickly pulled from warehouses for its controversial subject matter, namely the first year of the Cultural Revolution. All of the stories are set in the snowy, Russian-influenced, far northeastern province of Jilin, where Wang Xiaoni herself was born and raised. In 1966, Wang was eleven years old, just on the cusp between childhood and a semi-adult understanding of the world. The stories in the collection are told from the perspective of younger characters, ranging from a little boy barely old enough to left on his own, to young adults trying to make their way in a newly violent and chaotic society. None of the characters are given names, but instead identified by a role or profession or some other relative term like "sister" or "coworker," emphasizing not only the universality of the lives depicted, but also the interconnected nature of the communities she explores in minute detail. In "A Message," a male worker wants to deliver a warning to a teenaged girl who works at the same factory. Her parents have been accused of working as spies for the Americans—a crime for which the punishment could be death—and he wants to alert her of the terrible danger that she and her young brother are in. In an atmosphere in which paranoia is both ubiquitous and reasonable, the worker is worried that he will also be implicated in the parents' crime if he is seen to be aiding the family. Wang Xiaoni brings in many elements specific to that political era, including the frequent political radio broadcasts that the population were required to listen to, whether or not they happened suddenly in the middle of the night. Her characters are subject to the whims of work units, which controlled everything from where one lived to whom one married, and of the dreaded neighborhood committees, which kept watch over the lives of regular citizens and harshly punished any perceived infractions against the revolutionary cause. Wang brilliantly captures the omnipresent and stifling fear, as well as how ordinary good intentions could go terribly awry, or simply be crushed under the deadly onslaught of the communal, interpersonal, and social upheavals wrought by the Cultural Revolution. [ABSTRACT FROM AUTHOR]

This research describes the types and function of reference in a short story book written by Christine Lindop under the title The Bridge and Other Love Stories. This research applies discourse analysis, especially on the reference. The study used a qualitative descriptive approach. The data source of this research is a short story telling about the bridge and love stories that happened. The data of this research are words, phrases, and sentences contained in a short story. The results of this research show that the types of reference used in the short story include personal reference, demonstrative reference, definite article reference and comparative reference. Meanwhile, the function of reference is to risk word repetition, to show the close of scale, and to compare things or situations. [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.)

Cerita dari Blora; Knitting the Wisdom of Sedulur Sikep was the festival title of its second year (2019) in Blora Regency, which was part of the Indonesiana Platform. The name of the festival is taken from the title of a short stories collection with the same title by a Blora-born author, namely Pramoedya Ananta Toer. This study aims to determine the festival format with the mutual cooperation (gotong royong) concept, which was carried out together by the Tourism and Culture Office of Blora Regency, the community and the Director General of Culture. This research is a qualitative research conducted during the preparation stage and during the festival in order to gain knowledge on how to strengthen the capacity of festival governance through the Indonesiana Platform. Cerita dari Blora Festival was part of the mutual cooperation platform to strengthen the management capacity of cultural activities, as a forum for strengthening cultural ecosystems, as well as to know the concept of tradition and local wisdom at the Temu Ageng Sedulur Sikep event. The results of the study show that through the Temu Ageng event, there is synergy between local governments, where the cultural services synergize and work together with communities, artists and the development of cultural ecosystems in the area, and also work together with the UPT (Technical Implementation Unit) of the Ministry of Education and Culture in the area such as Archaeological Halls, Museums, Cultural Heritage Preservation Centers, as well as various institutions, companies, and CSR in each region. [ABSTRACT FROM AUTHOR]

The very short story is not just a narrative written in a few pages, but rather it is a mode of expression of modern literature that has certain formal characteristics and features that are designed to explore the mundane realities of life. The density of the plot of the short story allow the short story writer to capture the moment without the details that might overburden the narrative which could weaken the aesthetic effect of the text. The Algerian short story did not receive enough attention, spread, and media and critical circulation. We try here to review the exceptional experience of the Algerian short story writer Zinedine Boumerzouk by providing a critical reading of his collection of short story "Sea, Pardon me " and we will focus on one of its most brilliant texts, the short story "A Man not Loved by the Sea". [ABSTRACT FROM AUTHOR]

Copyright of Journal of Anbar University for Languages & Literature / Magallat Gami'at Al-Anbar Li-Lugat Wa-al-Adabl 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 study carries out the textual analysis of Hassan Blasim’s selected short stories to see the ways, in which the US military intervention in Iraq, (in) famously called as ‘the War on Terror’, results in creating terror, instead of eliminating it. The theoretical underpinnings used for the research have been borrowed from Robert J. C. Young’s study on terror effects. The study reveals that terror causes a psychological trauma within individuals. It inhabits the individuals and affects their ways of thinking. This study highlights the impact of the so-called war on terror and brings forth the role of cultural productions which record the debilitating aftermaths of such wars. This research underscores the value of literary texts, which, through such portrayals record the horrors of wars in a bid to to make them part of the cultural memory of the people. [ABSTRACT FROM AUTHOR]

Copyright of Journal of The Iraqi University 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.)

[novel] 11 Fischer, Tibor. FARKAS: Nobody, nobody looks at Brexit, nobody looks at the Northern Irish problem these days ... FISCHER: No, no, no, it's not true that people don't look at it ... FARKAS: Or the COVID ... scandal. Fischer, the son of Hungarian émigré parents who fled Hungary in 1956 and settled down in Britain seeking to live out their lives in a free western country, has acquired working knowledge of his parents' native tongue but has written all of his seven novels and two volumes of short stories in English. This is a lightly edited transcript of an interview with Tibor Fischer made when the British novelist of Hungarian descent and writer of Under the Frog, a novel short-listed for the Man-Booker Prize, delivered a lecture on his work at the English studies programme of Eötvös Loránd University (ELTE), Budapest, Hungary. [Extracted from the article]