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

The intricate and tricky case of semantic analysis, especially of the enigmatic realm of nouns, the red thread of linguistics and literary exploration. This academic research explores the rich sphere of Russian literature in-depth to determine connections between function and the embodiment of theme through proper names. This research is aiming at studying the role of proper nouns in the literary masterpieces by focusing on the ideas of character development, thematic cohesiveness, and the narrative flow. This papers deals with profound significance of proper nouns as linguistics pointers that take you beyond their literal meaning to different levels of connotative value. It takes most of its ideas from the late linguistics and literary critique. This research gets down to serious business by cherry-picking and analysing a set of Russian masterpieces. An intensive method of semantic analysis was used by the study to properly identify and categorize all the structural features of proper nouns. Also, it conducts an examination of the usage of language by these instrumentalities so as to discover their common features and themes which lead to the invention of the main narrative. The results of this study add to our comprehension of proper noun semantics in Russian literature and provide us with a stepping-stone to broader discussions on the linguistic theory and literary studies. This cognitive effort exceeds the linguistic borders, as it takes into consideration the cultural and historical value of the proper nouns being presented. The report shows why it is necessary to reconsider the theoretical design to account for the distinctive linguistic and particular cultural features of the Russian literary heritage. This research is a step toward unravelling noun semantics' mystery and adds to the already existing linguistic aesthetics and cultural semiotics debates.

Have we been teaching reading well? Close reading has been the signature practice in literary studies. More recently, however, postcritique has polemically revised this traditional mode of teaching reading. This essay proposes the initial framework for a novel arts-based pedagogy based on Spoken-Word Song, bridging critical literary interpretation and teacher-student co-created artistic performance. Spoken-Word Song is here cast as a privileged means for allowing university students to become intellectually and emotionally invested in poetry, following precepts of the affective turn in the humanities. Moving from theory to practice, this paper will contextualize Spoken-Word Song within three domains before describing the practical steps of my pedagogy: (1) its relevance to contemporary literary theory; (2) a brief overview of the American Spoken-Word Song; and (3) Spoken Word pedagogies currently practiced in the American educational system.

In "Anti-Oedipus," Deleuze and Guattari saw the difficulty of disentangling the question of Spinoza and, later, of Reich from the very limit of a system of representation by which they mean Oedipus. As "A Thousand Plateaus" would emphasize later, this limit brings out the question of the desire for democracy ('democracies are majorities'). It desires Oedipus. In "What Is Philosophy?", the limit question (Oedipus) gave way to the concept of a people to come. Fifty years since its publication, "Anti-Oedipus" remains a relevant text (apropos of its 'strategic adversary' identified by Foucault) against the background of the social pathology of neofascism, populist politics, and the rise of the alt-right and neoconservative movements in recent years. The paper tries to locate this inflexion point where the desire for democracy modulates into the bi-univocal plasticity of Oedipal desire whose dangers people already seem to know. They have unmasked Oedipus' double impasse and have escaped it. They no longer desire fascism; they desire fascists, neocons, and right-leaning mob rousers. Fifty years since its publication, "Anti-Oedipus" confronts a type of people who have learned to behave like the enemies of capitalism, too careful not to overload desire and destroy its bi-univocality, its great balancing act on the Body without organs. Incidentally, in 'Postscript on the Societies of Control,' Deleuze spoke about a people who know how to 'surf' replacing the 'older sports.' This applies to people who could become either schizoidal or regress to its more familiar inversion, the simulacra of Oedipus.

Since the establishment of the State of Israel in 1948, only 23 Queer literary works have been published for children and adolescents in Hebrew. This paper examines the characteristics of these works in light of the ambivalent and controversial status of the LGBTQ+ community in Israel. The findings show that the few works that have been published and that present same-sex families or LGBTQ+ characters, and the manner in which Queer themes are presented in those texts, are in line with how these issues are perceived and addressed by Israeli society. Moreover, this article divides the Queer Israeli literature for children and youth into three categories: implied Queer literature that hides the Queer existence through the allegoric genre; Queer-phobic literature that seemingly presents the Queer family but in actual fact promotes homophobic stereotypes; and Queer literature that places the LGBTQ+ character or family in the center of the story without passing judgment or criticism.

Fairy tales have been an essential ingredient in children's literature. Canonical fairy tales passed down from generation to generation not only enrich children's imagination but connote significant values typical of the community. However, as time passes, contemporary writers often challenge these traditional values when they work on the same topic. This changing face is evidenced by Emma Donoghue's rewriting of classical tales. Based on my teaching of Donoghue's story 'The Tale of the Bird' alongside Andersen's 'Thumbelina' at a university in Hong Kong, this paper discusses the ever-evolving cultural values and the benefit of reading Donoghue via Andersen or vice versa in the literature class and beyond.

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

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

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

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

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

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

This paper seeks to study the unforgettable character of Jimmy Porter in John Osborne's Look Back in Anger (1956), arguing that he epitomizes the then-forgotten literary archetype of the Byronic hero, a point frequently overlooked in existing analyses. Through an in-depth examination of Porter's complex persona and of the key moments and dynamics in the play, the paper draws parallels between him and some of the most significant Byronic heroes in literary history. In doing so, the paper aims to contribute a fresh perspective to the interpretation of this character, to show how John Osborne brought the riveting archetype back to life in a post-war context, and to enrich the broader discourse on Byronic heroes in 20th-century drama. [ABSTRACT FROM AUTHOR]

Using an autobiographical studies framework, this paper outlines the persistence of a Malayan nation-of-intent through contemporary life-writings which revisit the 1950s–60s. The imagined nation constituting the Federation of Malaya and Singapore is central to two texts by ethnic Chinese writers with contrasting ideological leanings—Home is Where We Are by Wang Gungwu and Margaret Wang, and The Mighty Wave by He Jin. As putative citizens of this nation-of-intent, they textually perform nation-building by narrating their involvement in formal institutions and grassroots capacity-building. In outlining key elements of nationhood such as language, political participation, and historical consciousness in both texts, distinct conceptions of Malayan political subjectivities emerge through the performative and relational aspects of both texts. Overall, this paper draws attention to political implications while demonstrating the relevance of the “Malaya as method” approach in literary studies. [ABSTRACT FROM AUTHOR]

In this paper, attempt is made to delineate the English teachers’ experiment of teaching romantic poetry and students’ experience of learning. It focuses on the two famous short lyrical poems of the romantic period: William Wordsworth’s I Wandered Lonely as a Cloud (1804) and Lord Byron’s She Walks in Beauty (1815). These lyrical poems are written in iambic tetrameter. The former celebrates the beauty of the nature, while the latter celebrates the beauty of the unknown maid. The linguistic and literary peculiarities in both the contemporary poems are explored. The advanced learners of the literature are necessarily expected to know these linguistic and literary subtleties for better appreciation of these poems. The analyses of the selected poems are presented in the paper. These analyses are based on the framework of Leech (1969) in which he considers criticism and stylistics as complementary and necessary for literary analysis. The paper concludes that both Wordsworth and Byron succeeded in representing their perceptual experiences through I Wandered Lonely as a Cloud and She Walks in Beauty, respectively. We observed their unique style in their poetry despite of the numerous similarities. It is to be noted that a creator of the text (a poet), the process of creation (creativity, imagination, etc.), its representation in a form of the text (a product), and the (linguistic and/or non-linguistic) context are most prominent aspects in poetic composition. [ABSTRACT FROM AUTHOR]

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

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

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

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

This paper aims to explore Michel Serres' approach to issues of text, writing and language. In a first step, his own textual parasitism—his use of other texts without adhering to the academic conventions of citational practices—shall be assessed on grounds of the notion of intertextuality, comparing his position to Roland Barthes and Julia Kristeva. It shall be shown that Serres—understanding writing as an act of invention—seems to return to a traditional author position by conceiving of himself in terms of a creative writing subject. A second step of the paper will explore Serres' search for a language of the natural, material world by discussing his critique of the anthropocentrism of language. Serres' own project of reconnecting language with the material world shall be discussed within the context of his own intertextual dependency on other authors and his interest in information theory as connecting different signifying systems. The paper will end with observations on Serres' experimental style of writing, which attempts to bring the body and nature into language. [ABSTRACT FROM AUTHOR]

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

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

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper enquires into SHEN Dan's interdisciplinary studies especially at the intersections of three apparently distinct disciplines, i.e. stylistics, narratology, and translatology, by focusing on her prolific international publications. First, it investigates how she combines linguistics and literary criticism and enriches stylistics through innovating linguistic models and proposing new critical concepts; secondly, it explicates how her approach of combining stylistics and narratology to the study of narratives has contributed to the development of both disciplines; thirdly, it discusses how her taking the combined interdisciplinary approach to fictional translation studies has remolded translatology from both disciplinary perspectives, and shows how her translation studies has retroactively transformed literary stylistics and narratology. It concludes from a semiotic point of view that Shen has theoretically and methodologically blazed new trails in the study of language and literature, broadened stylistics, narratology, and translatology by promoting their interactions, and offered insights into further interdisciplinary studies. [ABSTRACT FROM AUTHOR]

In this paper we suggest that basic forms of musical entrainment may be considered as intrinsically creative, enabling further creative behaviors which may flourish at different levels and timescales. Rooted in an agent's capacity to form meaningful couplings with their sonic, social, and cultural environment, musical entrainment favors processes of adaptation and exploration, where innovative and functional aspects are cultivated via active, bodily experience. We explore these insights through a theoretical lens that integrates findings from enactive cognitive science and creative cognition research. We center our examination on the realms of groove experience and the communicative and emotional dimensions of music, aiming to present a novel preliminary perspective on musical entrainment, rooted in the fundamental concepts of meaning-making and creativity. To do so, we draw from a suite of approaches that place particular emphasis on the role of situated experience and review a range of recent empirical work on entrainment (in musical and non-musical settings), emphasizing the latter's biological and cognitive foundations. We conclude that musical entrainment may be regarded as a building block for different musical creativities that shape one's musical development, offering a concrete example for how this theory could be empirically tested in the future. [ABSTRACT FROM AUTHOR]

Roman Jakobson (1896-1982) is not currently a highly cited author in the field of literary studies. Along with other inescapable names of the heyday of structuralism, he has fallen into relative oblivion. Although he undoubtedly continues to be recognized as one of the giants of the Human Sciences during the 20th century, his theoretical conceptions and methodological proposals find limited applicability and have been subjected to severe objections by leading contemporary scholars. However, there is ground to believe that this neglect arises from the fact that his entire output has been reduced to the essentialist positions of his later North American period. In this paper, we contend that Jakobson 's ideas belonging to the earlier periods of Russian formalism and Czech structuralism have been all to often overlooked, and might have a revitalizing and stimulating impact on contemporary disciplinary discussions. [ABSTRACT FROM AUTHOR]

Copyright of Filozofija i Drustvo is the property of University of Belgrade, Institute for Philosophy & Social Theory 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.)

Following the twentieth-century's spatial turn in literary and cultural studies, this paper examines spaces and spatiality in Don DeLillo's novel Falling Man, a seminal fictional response to the most traumatic (spatial) event in the USA at the turn of the century. Starting from Robert T. Tally Jr.'s thesis that authors are cartographers, I analyze how DeLillo acts as a mapper of the post-9/11 space. By exploring the depictions of the altered spatial landscape DeLillo creates, and the world he thrusts his characters into, I examine the intricate relationship between space and identity. Ultimately, I argue that the loss of a familiar and dependable space creates unfamiliar spaces the characters struggle to navigate. [ABSTRACT FROM AUTHOR]

Pālā has attained a special position as an indigenous art of Odisha. A cultural folk ballad genre of Odisha that incorporates elements of Sanskrit and Odia literature is known as Pālā. It has achieved immense popularity for bringing progress to Odisha in the fields of religion, culture, literature, and social values. This research paper delves into the rich cultural heritage of Odisha, focusing on the Indigenous Ballard form that has been an integral part of the state's cultural fabric. Ballads in Odisha have served as a dynamic medium for storytelling, preserving historical events, and expressing the socio-cultural ethos of the region. This study aims to provide a comprehensive analysis of the Indigenous Ballard form, with a particular emphasis on its song texts. The research employs a multifaceted approach, combining ethnographic methods, linguistic analysis, and literary criticism to unravel the layers of meaning embedded in the song text. The study also investigates the role of oral tradition in the transmission of these ballads across generations and its impact on language preservation. Furthermore, the research explores the intersection of the Indigenous Ballard form with broader issues such as identity, community dynamics, and cultural resilience. [ABSTRACT FROM AUTHOR]

The intricate and tricky case of semantic analysis, especially of the enigmatic realm of nouns, the red thread of linguistics and literary exploration. This academic research explores the rich sphere of Russian literature in-depth to determine connections between function and the embodiment of theme through proper names. This research is aiming at studying the role of proper nouns in the literary masterpieces by focusing on the ideas of character development, thematic cohesiveness, and the narrative flow. This papers deals with profound significance of proper nouns as linguistics pointers that take you beyond their literal meaning to different levels of connotative value. It takes most of its ideas from the late linguistics and literary critique. This research gets down to serious business by cherry-picking and analysing a set of Russian masterpieces. An intensive method of semantic analysis was used by the study to properly identify and categorize all the structural features of proper nouns. Also, it conducts an examination of the usage of language by these instrumentalities so as to discover their common features and themes which lead to the invention of the main narrative. The results of this study add to our comprehension of proper noun semantics in Russian literature and provide us with a stepping-stone to broader discussions on the linguistic theory and literary studies. This cognitive effort exceeds the linguistic borders, as it takes into consideration the cultural and historical value of the proper nouns being presented. The report shows why it is necessary to reconsider the theoretical design to account for the distinctive linguistic and particular cultural features of the Russian literary heritage. This research is a step toward unravelling noun semantics' mystery and adds to the already existing linguistic aesthetics and cultural semiotics debates. [ABSTRACT FROM AUTHOR]

One task of the Greek literary critic was to help his reader understand how style moves audiences. This paper explores the implications of such a task and thereby reveals how Greco-Roman dance traditions were reflected by and embedded in conceptualizations of verbal art in antiquity. Kinaesthetics—a system of physiological and psychological responses to movement—is offered as the key to unlocking style's kinetic essence and the far-reaching influences of performance over theories of verbal art. As the criticism of Longinus and Dionysius of Halicarnassus demonstrates, dance offered aesthetic lessons that could be translated into a variety of contexts. [ABSTRACT FROM AUTHOR]

To date, literary fiction’s interventions into debates about the crisis in literary studies, and contestations over critical methods, have received scant scholarly attention. Christine Smallwood’s The Life of the Mind treats the idea of crisis with irony, utilising overstatement in the novel’s narrative discourse to draw attention to crisis discourse’s inefficacy in delivering meaningful change. The novel represents literary critique, especially as extended to non-literary objects, as a compulsion; and, as failing to result in action. Instead, in The Life of the Mind, crisis and critique are discursive conventions which culminate in the protagonist remaining in a suspended emotional and economic state. This paper draws its theoretical approach from the novel’s intertexts, including Lauren Berlant’s conceptions of crisis ordinariness and impasse, and contextualises The Life of the Mind in relation to its intervention into discussions about critique and reading methodologies. Literary criticism and literary fiction are portrayed as being in a state of impasse in Smallwood’s novel. Despite Berlant’s (and Ann Cvetkovich’s) guarded sense of impasse as a state of potential, in The Life of the Mind impasse is regarded ironically; progress in the protagonist’s situation, in the discipline of literary studies, and in the practice of critique, are questionable. [ABSTRACT FROM AUTHOR]

There has been a current of literary criticism that approaches Milton's Paradise Lost from an environmental and ecological perspective. Such criticism has connected images of sulphur and smoke in Hell with the experience of coal smoke in early modern London. However, most of these works have not gone beyond establishing the connection. This paper argues that proceeding further to examine Milton's depiction of Hell and fallen being in the light of the early modern experiences of coal smoke, and the different modes in which these registered in the discourse, both imagery and language, of early modern London reveals that the representation of Hell and the fallen angels richly drew in a variety of ways on these sources, both overtly and implicitly. It also reveals an imagistic subtext that manifests the ways of fallen being and effort, expressing these as simultaneously insubstantial and pernicious, and derivative. Finally, it suggests the implication of Milton's epic in common Royalist narratives of coal smoke. [ABSTRACT FROM AUTHOR]

F. R. Leavis, the leading literary critic at Cambridge from 1930 to 1960, recounts the time when his friend Ludwig Wittgenstein told him to 'give up literary criticism!' The remark came as a surprise to Leavis, and it remains somewhat puzzling to anyone who reads of the encounter, for there are few contextual clues as to why Wittgenstein would say such a thing. But there are clues in Wittgenstein's many remarks on literature, music and other art forms scattered throughout his writings. In this paper, I will present what I think Wittgenstein's concern was with the sort of literary criticism Leavis practised, contrasting it with the sort of reading, and the sort of reader, that Wittgenstein (and others) would consider a literary way of reading; the sort of reader he thought was 'a better sort of reader'. [ABSTRACT FROM AUTHOR]

Part of Joaquín Dicenta's large literary production is currently overlooked in Spanish literary history, despite being one of the most unique figures of the late nineteenth to early twentieth century period. He is primarily remembered for his prolific journalistic work and for introducing social drama to Spain—a theatrical genre cultivated by European playwrights at the time. This paper aims to shed light on an aspect of Dicenta that has been relatively neglected by scholars: the genesis of his novel Encarnación (1913). In composing this book, the author appears to have merged stories from Spoliarium (1888) and certain passages from Idos y Muertos (1909), both inspired by biographical events. I focus on several aspects, including the textual transmission of Encarnación, the underlying process of rewriting, the biographical episodes that inspired the novel, and the similarities and differences with the other two works with which it has been linked. [ABSTRACT FROM AUTHOR]

In this paper, the author looks at some central psychoanalytic themes through the lens of literature. In literary criticism, it is clear that we construct a meaning with the help of certain formal principles. In literature, we also know that fiction differs from documentary or scientific prose. The literary critic thinks that, specifically in fiction, one may find new formal principles and, through that, new perspectives on reality. With the help of these literary constructs, the author looks at character, transference, therapeutic change and truth/reality in psychoanalysis. The argument is elaborated in relation to a clinical example. [ABSTRACT FROM AUTHOR]

In the history of Brazilian literature, the representation of local color has always occupied a central place. In view of this, literary criticism praised realistic fiction, highlighting the documentary tone, to the detriment of the supernatural. Gabrielli (2002, p. 25) states that "the presence of fantastic literature among us; its penetration both among critics and the general public has been, since 1947, the year of release of Murilo Rubião's O ex-mágico e outros contos, of overwhelming scarcity". França (2017a) and others emphasize that the identity construction project suffocated literature away from realistic fabulation. In this sense, this paper aims to map a repertoire of Brazilian fantastic short stories produced from the second half of the 20th century, forgotten by literary critics. [ABSTRACT FROM AUTHOR]

We are used to thinking of modernist works, à la Ricoeur, as 'tales about time', either as marking ruptures in time, or cycling back on time. In recent criticism, in what has been seen as a move beyond the historicism of the new modernist studies, there has been significant attention paid to the future in modernism, and indeed the futures of modernism. This paper will attend to how some of the key modernist texts of 1922, including Ulysses, Jacob's Room, and the beginnings of Mrs Dalloway, address futurity in various forms (prolepsis, prophecy, speculation), and open themselves to possible futures. More than a century on from the annus mirabilis of 'high' modernism, what accounts for the continued 'usefulness' of such works as ways of thinking about and preparing for what Joyce called 'the imprevidibility of the future'? And what are the implications for modernist studies, at this commemorative moment, of a future-oriented criticism? [ABSTRACT FROM AUTHOR]

Starting from a question about the "diasporic" position of certain authors of cultural criticism in Latin America, always halfway between academic affiliation and a kind of fractious position regarding their increasingly bureaucratized practices of knowledge administration, this paper proposes a reading of three representative texts by the Brazilian-Argentine critic Raul Antelo: Crítica acéfala, Archifilologías latinoamericanas. Lecturas tras el agotamiento and A ruinologia. These strange and problematic texts seem to be articulated from a position that not only (post)critically revises the foundations of more conventional criticism, but also moves toward the behavior of the most radical bids of artistic conceptualism; in other words, in them criticism becomes an act: intervention. And therein lies its forceful emergence in the framework of contemporary literary and cultural studies. [ABSTRACT FROM AUTHOR]

The Japanese novel, Kokoro (1914), offers a profound insight into early 20th-century Japanese society encompassing history, politics, and literature. Although this novel has been extensively explored in literary and translation studies, the convergence remains underexplored. This study advocates integrating literary criticism with translation practice for a more faithful representation of narratives. Applying trauma/PTSD studies theory, it meticulously analyzes Kokoro, particularly examining the English and Chinese renditions of the pivotal term (danpan; negotiation)". The methodology involves constructing a trilingual database, incorporating the Japanese source text and seven translations in English and Chinese. By scrutinizing specific passages, the study delves into trauma-related responses and behaviors, revealing their impact on long-lasting changes in personality and relationships. Emphasis is placed on the translation of key terms, preserving cultural and linguistic nuances. This innovative approach advances both literary criticism and translation theory, emphasizing psychological elements for a nuanced portrayal of characters' states of mind. The study underscores the significance of trauma narratives in comprehending personal and historical traumas, asserting that translators of trauma literature must blend theoretical knowledge with social responsibility. They serve as "secondary witnesses," entrusted with accurately transmitting traumatic stories between languages, fostering empathy, and preventing the repetition of tragedies in history. This approach provides an innovative interpretation of Kokoro and its translations, bridging the realms of literary criticism and translation studies. [ABSTRACT FROM AUTHOR]

This paper aims to explore context and character of the longer LXX readings in Ezek 44:23–24, based on Codex Vaticanus (B), Papyrus 967 (p967) and Old Latin Codex Constantiensis (LaC). First, the position of these verses within the Book of Ezekiel and more particularly within chapters 40–48 is determined. Second, a broader comparison of the textual witnesses of the said verses is carried out, including the analysis of MT, the Greek witnesses B and p967, the Vetus Latina (VL), the Peshitta (Syr), and Targum Jonathan (TarJon). And finally, the meaning and literary function of the longer readings transmitted in LXX are clarified. The textual plusses displayed by LXX Ezek 44:24a originate in a Hebrew Vorlage, which establishes Zadokite priestly jurisdiction over cases of homicide and integrates the motif of 'the righteous' justifying the judgement of YHWH. The Vorlage thereby identifies 'the righteous men' announced in Ezek 23:45 as the Zadokite priests of the Second temple vision. [ABSTRACT FROM AUTHOR]

The late Harry Garuba and Biodun Jeyifo are considered to be the most outspoken critics against the generational model of writing the history of Nigerian literature. These academics raised objections against the national-generational framework on the premises that it is ambiguous, unstable, temporally reductive, and uses a rudimentary age-grading system to explain away a complex literary history in which different writers are constantly churning out works of different genres and stylistic compositions at different times regardless of the generation to which they have been constricted. Drawing from their highly antagonistic outlooks, this article further criticizes the disadvantageous character of the generational model adopted in Nigerian literary history by critically examining how twenty-first-century literary developments disrupt historiographically constructed generations in Nigerian literature. The article also subtly proposes that a fourth generation be instituted or the generational model be altogether scrapped. [ABSTRACT FROM AUTHOR]

This article analyzes the hysterical narration styles of two major characters in Richard Marsh's The Beetle (1897) to reveal the ways late-Victorian discourses attempted (and often failed) to distance particular social anxieties from their modern origins. Attending to previous literary criticism regarding socially Othered groups of this period—racialized foreigners, New Women, and the urban poor—as well as (pseudo)scientific studies from the 1870s–80s, this reading notes the ways that Victorian cultural biases surrounding race, gender, and class could be projected onto Gothicized, Orientalized figures in literary texts. Pairing a postcolonial examination of the novel's spatial and temporal elements with a psychoanalytic reading of this text, I argue that the slowing pace in Robert Holt's narrative and the compulsive repetition of Marjorie Lindon's both reflect the novel's disruption of space and time and structurally parallel the symptoms of a "hallucinatory hysterical attack," as conceived by Josef Breuer and Sigmund Freud. Together, these hysterical narratives reveal the failure of particular cultural and scientific discourses to completely bury Victorian anxieties about modernity into different, explicitly Othered spaces and times by collapsing both space and time in the narration of psychic trauma. [ABSTRACT FROM AUTHOR]

There remains to be a scarcity of pragmatic studies that rely on analysis tools in the literary dimension. It is also deemed not too important to relate the linguistics field to understanding the beauty and metaphoric meanings in the literature. This study describes the metaphors in emotive phrases from a pragmatic stylistic standpoint and their pragmatic connotations. This study identified symbolic utterances of a novel's emotive terms. Thus, this study relied on novel excerpts with metaphorical emotive word meanings. Sindhunata's Gramedia Pustaka Utama book Anak Bajang Menggiring Angin provided source data. The data were collected by observation and then analyzed using distributional analysis. The extralinguistic dimensions of this study were analyzed via a contextual method, especially the extra-lingual equivalent method. This study found anthropomorphic, abstract, and animal imagery analogies. The collected data shows that metaphors have four pragmatic meanings: connotative, emotive, introspective, and collocative. Understanding these meanings is not just confined to a purely literary perspective, as literature and language are like two-sided coins; one field cannot be separated from the other. So, there will be more literary studies with an interdisciplinary perspective on literature and linguistics in the future. [ABSTRACT FROM AUTHOR]

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In early-nineteenth-century America and Britain, authors crafted sensational, emotional, and widely popular narratives around the so-called murders of several show elephants. Using these narratives this article explores the interconnected development of Anglo-American understandings of elephants and animals, the usage of the term murder , moral codes about animal killing, and the relationships between these moral codes and laws and national identity. It applies approaches from animal studies, literary studies, anthropology, and the histories of law, empire, emotion, morality, and nationalism. Writers that focused on elephants as more human-like than other nonhuman animals, on elephant killers as moral deviants, and on elephants as sympathetic figures, encouraged Americans, and to a lesser extent Britons, to see other violence and killing in imperial and national expansion as morally acceptable. Writers normalized a distinction between so-called rational killing for food, economics, or settler colonialism that should not generate sympathy, and elephant killings that should be mourned to prove national sensibility and morality. Because the law seemed inadequate to respond to elephant killings, authors also argued that the people must create justice through their own emotional responses. The article provides an example for tracking how people focused attention on otherwise low-stakes moral transgressions to develop belief in their collective national virtue. [ABSTRACT FROM AUTHOR]

Affect theory, non-representational theory, and assemblage theory have been among the most impactful developments in the theoretical humanities in the wake of, and in reaction to, poststructuralism. These interlocking bodies of theory and critical practice call into question two concepts foundational for biblical hermeneutics, namely, interpretation and representation. In literary studies, the poststructuralist "death of the author" has been succeeded by a post-poststructuralist "death of the interpreter". How might biblical exegesis be reimagined on the far side of this double demise? Non-representational theory, meanwhile, in tandem with affect theory, has dismantled traditional understandings of representation; this article argues that traditional biblical scholarship, epitomized by biblical commentary, is driven by a representation compulsion. Assemblage theory, for its part, more than any other body of thought, reveals the immense complexity of the act of reading, not least biblical reading—after which even explicit evocations of contemporary contexts in contextual biblical hermeneutics amount to skeletally thin descriptions. These and other related lines of inquiry impel the rethinking of academic biblical reading attempted in this article. [ABSTRACT FROM AUTHOR]

The paper examines early Soviet reception of Ernest Hemingway's works. The research is based on the readers’ letters to Goslitizdat (State Publishing House) from the funds of the Russian State Archive of Literature and Arts (RGALI). A small collection of letters (1935–1936) shows readers’ reaction to the first Hemingway’s Soviet book editions: a short story collection Death in the Afternoon (1934) and Fiesta (1935). The readers unanimously condemn Hemingway for his “decadent” prose and Goslitizdat for publishing such “absurd” and “harmful” books. The only exception is a short positive review of the novel A Farewell to Arms (1936) sent to Goslitizdat in 1937. To uncover the reasons for the negative readers’ reception one should turn to the literary criticism of the 1934–1935, especially the essays by Ivan Kashkin who introduced the new author to the Soviet reading audience. A comparative analysis of readers’ feedback and critical discourse shows that the ambivalent and even contradictory image of the writer created by the critics made the readers think of Hemingway’s works as “decadent”, “bourgeois” and alien to Soviet people. Another reason was the innovative nature of Hemingway’s modernist prose which seemed obscure, confusing and unintelligible; the Soviet reader obviously preferred “clarity” and “simplicity” of Erskine Caldwell’s or Theodore Dreiser’s realistic writings. The situation changed by the 1937, when Hemingway was praised by both Soviet critics and readers as an anti-fascist writer, a heroic defender of the Spanish Republic.