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While positioning and contextualising the short story 'Green Tea' by Joseph Sheridan Le Fanu (1814–1873) in relation to existing Le Fanu scholarship, this article seeks to explore further the textual reflexivity for which it is renowned. The regimes of language and light (a formulation loosely derived from the work of Michel Foucault) are presented in Le Fanu as intertwined, yet each is also presented as paradoxically set apart. Le Fanu's tale displays the discontinuity and mutual exteriority of the regimes in the form of an experimental exploration within the form of the tale itself. Through an attention to the interrelationship of the scopic and textual (and, to a lesser extent, the auditory) regimes of 'Green Tea', and to the manner in which writing is explicitly figured as both the source of disjunction and the site of interpenetration of the regimes, it is proposed that a specific understanding of allegory (in a semantic register drawing on work by Walter Benjamin and Paul de Man) can provide a fresh perspective on 'Green Tea' as an archive of the regimes of language and light of its time. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 method of narration is highly significant for audience reception. As artistic genres have different styles and qualities, adapting a piece of work from one genre to another affects the original story and its emotional impact. In this account, the adaptation of James Joyce's short story "The Dead" into a film changed the emotional intensity of it, due to the absence of an omniscient narrator in the film. It also affected the portrayal of the protagonist Gabriel and representation of relationships between the characters. The Irish director John Huston experimented in his adaptation of the story; he introduced new scenes and added an interior monologue to the end in an attempt to achieve the same effect as that of the original genre. This paper will attempt to study the differences between the two versions of James Joyce's "The Dead." [ABSTRACT FROM AUTHOR]

The article focuses on American novelist, David Foster Wallace's collection of short stories titled Brief Interviews with Hideous Men. It explores the ways in which Wallace reflects on the complexities of male-female relationships and the hope for intimacy between genders. It further delves into Wallace's formal and linguistic choices, particularly the interplay of focalization and narrating instances.

This writing examines three short stories in the short story anthology of Adab Am Qillah Adab by Nawāl Al-Sa'dāwī, namely: "Adab.Am Qillah Adab", "al Umm al-Suwisriyyah al-Qātilah", and "Qiah Fatiyyah al-Miriyyah". The analysis focuses on Nawâl al-Sa'dâwî's critique of religious constructions of gender relations. The subjectivity of Salvoj Žižek is the theory used and hermeneutics is the method of analysis. The purpose of the study is to find out the reasoning behind the radical acts of Al-Sa'dāwī over her rejection of patriarchal religious constructions in her three short stories. The result of the analysis shows that the literary work is the explanation of the radicalization of the author's actions, Al-Sa'dāwī, as a subject. Such radicalization is her rejection of the needy Symbolic (patriarchal religion construction) as her attempt to escape the Symbolic. Al-Sa'dāwī continues to move because the subject is split and empty. Therefore, Al-Sa'dāwī makes an effort to seek full self-fulfillment to and approach The Real in order to kill the old tyrannical Symbolic and pick up the new Symbolic, which is the construction of a just religion and liberate women. [ABSTRACT FROM AUTHOR]

This article resumes what might be defined as a historiography of the Goan short story in Portuguese in order to discuss how intellectuals such as Filinto Cristo Dias, in Esboço da literatura indoportuguesa (1963) [Sketch of indo-portuguese literature], Vimala Devi and Manuel de Seabra in A literatura indo-portuguesa (1971) [Indo-portuguese literature] or Paul Melo e Castro, in Lengthening shadows: an anthology of Goan short stories translated from the portuguese (2015), among others, narrate the development of this literary genre in Goa. Our aim is to demonstrate how the Goan short story in Portuguese was immensely profitable, so much that it still flourished after the end of colonialism in 1961, when Portuguese lost its status as an official language. Then, the article focuses on the book Contos e narrativas [Short stories and tales] (1997), by Carmo de Noronha, that so far has not had the attentive critical approach it deserves. It also deals with the importance of his work, the role of the writer in the maintenance of Portuguese as a literary language in Goa, as well as on its insertion in the plurilinguistic Goan literary universe. [ABSTRACT FROM AUTHOR]

This article brings a reading of the short-story collection Monção [Monsoon] (2003) by the Goan writer Vimala Devi (1932-). The collection can be read as a short-story cycle, a group of stories related by locality, Goa, character, Goans, from all walks of life, and theme, in particular women's milieu, among other literary categories. In her book, written from her self-imposed exile in Portugal, Devi recreates Goa, former Portuguese colony, in the 1950s, before its annexation to India. A member of the Catholic gentry, Devi portrays the four hundred years of conflictive intimacy between Catholics and Hindus. Our main argument is that Devi's empathy for her culture becomes even more explicit in Monção when her voice becomes one with that of all her women characters. Though they might be at odds, due to differences of caste, class and religion, Devi makes a point of showing that they are all part of the same cultural identity constantly remade through their own acts of refusal and recognition. This discussion will be framed in terms of Sidonie Smith and Julia Watson's theory of autobiography (2001) as well as the studies on Goan women by the Goan critics Propércia Correia Afonso (1928-1931), Maria Aurora Couto (2005) and Fátima da Silva Gracias (2007). [ABSTRACT FROM AUTHOR]

Copyright of IUG Journal of Humanitarian Research is the property of Islamic University of Gaza 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 Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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 Kwartalnik Neofilologiczny is the property of Polish Academy of Sciences 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 Folklor / Edebiyat is the property of Cyprus International 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.)

Like practically every single country, Mexico has had its fair share of pain and trauma. Bloodshed and utter devastation are rife in Mexico's modern history. To civil wars and --in recent years-- drug-related violence, one has to add the destruction and horror caused by earthquakes. The seism that devastated Mexico City on the 19th of September was the most destructive and painful in living memory. As an uncanny coincidence, also on the 19th of September, but in 2017, another earthquake hit the capital. Perhaps not surprisingly, Mexican novelists and poets have written profusely about their country's long history of seismic destruction. Poet and journalist Manuel Gutiérrez Nájera --who ushered Mexican letters into Modernism-- chronicled the earthquake of the 2nd of November 1894. For his part, Juan Rulfo -- arguably Mexico's most important fiction writer of the twentieth century--penned the "The Day of the Earthquake", included in his collection of short stories The Plain in Flames, published in 1953. Rulfo uses a natural disaster and its toll as a metaphor for the unbridgeable gap between the political elites and the dispossessed. Finally, José Emilio Pacheco published a series of poems on the 1985 earthquake, the aftermath of which was felt not only in terms of human suffering, but also as a watershed event that ultimately resulted in social and political upheaval. An idiosyncratic brand of humour, trenchant criticism, and a sense of the ineffable before the enormity of utter devastation are some of the ways three of Mexico's best poets and writers have found to cope with catastrophe and trauma. [ABSTRACT FROM AUTHOR]

This article questions Assia Djebar’s Islamic feminism in Women of Algiers in Their Apartment. Albeit Djebar is known as an Islamic feminist, the analysis of her collection of short stories, from an Islamic feminism standpoint, unravels non - Islamic practices in terms of forced marriages, beating wives and unveiling women. Djebar did not use Islamic sources to defend women against these non - Islamic practices. Her work exhibits many western feminist ideas relevant to the French feminism of Kristeva, Cixous and Irigaray. Consequently, the collection does not represent Islamic but Arab feminism that is greatly influenced by western feminism. [ABSTRACT FROM AUTHOR]

Pío Baroja (1872-1956), the most prolific novelist of the so-called Spanish Generation of '98, began his literary career as a storyteller. The publication of Vidas sombrías (Somber Lives) in 1900, a volume of over thirty stories set in the Basque Country, Madrid and Valencia, earned him wide critical acclaim, despite its poor reception by Spanish readers. Baroja himself acknowledged that four or five of the stories were written in imitation of Edgar Allan Poe. This article explores traces of Poe in Baroja's early storytelling, although it sets out by considering a concept such as unity of sensation (unity of effect), which Baroja indeed borrowed from Poe, although he never acknowledged this. My central concern here is that Baroja's early admiration of the writer from Boston manifests itself in the adoption of bleak landscapes, Gothic interiors, and psychologically unstable characters. This trend was soon to be abandoned, although Baroja's concept of the novel, a development of Poe's poetics of the tale, would remain with the Basque writer for the rest of his life. The final part of this study analyzes Poe-like elements--literary devices, Gothic motifs, semantic structures--which can be found in "Médium," one of the stories in Vidas sombrías. [ABSTRACT FROM AUTHOR]

The article highlights the career of writer Elizabeth Spencer. These include the publication of Spencer's novel "Fire in the Morning" in 1948, the publication of her first short story "Pilgrimage" in a 1950 issue of the "Virginia Quarterly Review" journal, and recognition given to her 2014 book "Starting Over."

An interview with writer Elizabeth Spencer in Chapel Hill, North Carolina in January 2009 is presented. Topics covered include the adaptation of her novella "The Light in the Piazza" into a Broadway musical, a documentary film about Spencer, and the reason why she never considered herself a Canadian writer.

The article explores the revisions made by American author Katherine Anne Porter to her short story "The Jilting of Granny Weatherall." Topics discussed include comparison between the original and the revised version of the short story with regard to themes and character development, the significant contribution of the international recognition earned by this work to the career of Porter, and the 1935 publication of her short story collection "Flowering Judas and Other Stories."

A literary criticism is presented to the book "Only the Animals" by Ceridwen Dovey in which he reflects the problem of Anthropomorphism. It focuses on the perspective and behavior of animals by this short story collection and also highlights the intersecting voices to enhance the presentation of animal lives.

The poetry of nineteenth-century Brazilian writer Machado de Assis offers a fascinating case study of literary and cultural circulation between Latin America and Europe. While all nine of his novels and many short stories have now been translated into English, more than a century after his death only a handful of his roughly 200 poems have been translated into English. Through Roberto Schwarz's framework of "misplaced ideas," this paper examines the role Machado played in importing external cultural elements into Brazil through his poetry, criticism, translations, and novels, and interrogates the conditions that have contributed to the failure of his poetry to reach the Anglophone world. Using Machado's own essay on the Brazilian literary instinct, as well as José Luís Jobim's work on both circulation and Machado's development as a writer, this paper also helps place Machado's poetry within the scheme of his larger literary project, encompassing his novels, short stories, poetry, and literary and cultural criticism. [ABSTRACT FROM AUTHOR]

The article, based on the Hindi short stories of S.R. Harnoṭ, focuses on the transformation of villages in an age of globalisation. The setting of the stories is the mountain villages of Himachal Pradesh, and, in a few instances, Shimla, also a mountain location. The article is divided into two sections. The first is an overview of the stories, the second covers two main themes: the arrogance of power and the distortions generated from its abuse, and the effects of glocalisation and the end of the social produced by technological progress, which cuts off direct contact between human beings. The two themes merge in a single discussion in the conclusion through the unifying element of nature, an ever-present theme that is at times explicit, at times implied. Throughout the analysis three terms have been used to highlight the changes in village life: modernisation, glocalisation and globalisation. [ABSTRACT FROM AUTHOR]

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

Copyright of Journal of English Studies is the property of Universidad de la Rioja, Servicio de Publicaciones 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 Literatura Hispanoamericana is the property of Universidad Complutense de Madrid 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 Creneida is the property of Creneida 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.)

Through a study of Soulfood Équatoriale (2009), a nostalgic collection of culinary short stories by Paris-based Cameroonian writer Leonora Miano (1973–), and her essay "Afropea" (Miano, Écrits pour la parole), this article relates culinary literary form to the AfroEuropean subjectivities. Located in the emergent field of foodways, the article examines the juxtaposition "Soulfood" as a signifier of histories of Afrodiasporic dispersal and African-American culinary tradition, with "Équatoriale" denoting the author's personal trajectory from Cameroon to becoming a naturalized French citizen or AfroEuropean. Using the dual notions of taste and nostalgia to interrogate the affective multiple affiliation created by the translocation of soul food to the Francophone Afropean space, the article frames a nascent Afropean culinary culture as a site of subjectivation created by an entangled network of cultural roots and routes, which transcend cultural and linguistic borders. [ABSTRACT FROM AUTHOR]

Through a study of Soulfood Équatoriale (2009), a nostalgic collection of culinary short stories by Paris-based Cameroonian writer Leonora Miano (1973–), and her essay "Afropea" (Miano, Écrits pour la parole), this article relates culinary literary form to the AfroEuropean subjectivities. Located in the emergent field of foodways, the article examines the juxtaposition "Soulfood" as a signifier of histories of Afrodiasporic dispersal and African-American culinary tradition, with "Équatoriale" denoting the author's personal trajectory from Cameroon to becoming a naturalized French citizen or AfroEuropean. Using the dual notions of taste and nostalgia to interrogate the affective multiple affiliation created by the translocation of soul food to the Francophone Afropean space, the article frames a nascent Afropean culinary culture as a site of subjectivation created by an entangled network of cultural roots and routes, which transcend cultural and linguistic borders. [ABSTRACT FROM AUTHOR]

In the course of historical development, cultural contacts of the Tuvinian people with the Mongol-speaking peoples were very diverse and intensive. Tuvinian-Mongol folklore literature contacts, which are one aspect of close cultural interactions of the peoples of Central Asia and Sayan-Altai regions, are of a great interest for researchers. One of the most prominent phenomena in the Tuvinian-Mongol folklore interrelations is a wide range of Central Asian versions of the Geser, Dzhangar, Khan-Kharanguy and other series of epic tales, along with various collections of Old Mongolian literature stories, which added a new plot and creative stylistic content and new genre form, the framed fairy tale, to the Tuvinian folklore. Thus, in Tuvinian folklore, there were common plots adopted from the Mongolian literature in the framed novelette genre - Arzhi-Bordzhi, The Magic Dead Man, The Tales of a Parrot as well as Bigarmidzhid and Panchatantra, which, due to an active dispersion of Buddhism at the end of the 18th - the beginning of the 19th century began to spread in Tuva and Tuvinian folklore in fairytale form together with the religious literature. The theoretical and methodological basis of the given research is structured around the works of leading experts in oriental, literature and folklore studies. A great contribution into the study of intercultural literary connections and folklore literature interconnections of the oriental people was made by E.M. Meletinsky, I.D. Serebryakov, P.A. Grintser, S.U. Nekludov, A.D. Tsendina, E.N. Afanasyeva and other researchers in the works and articles. The aim of this research is to define the role and importance of Mongolian literary monument "Magic Dead Man" (Mong.: Shiditu hūr) in the expansion of Tuvinian folklore repertoire and enriching its plot and motif components as well as the introduction of a new genre form in the Tuvinian folklore - the framed fairytale, which comes from the genre of a framed novelette, which was created within the Ancient Indian literary tradition. The study was held on the complex approach level with the implementation of the comparativetypological and comparative-textological methods, which allowed completing a systematic analysis of the literary and folklore poetic and stylistic models. The Tuvianian storytelling tradition, based on the ancient epic one, appeared to be accessible for perceiving the international elements and a prosperous foundation, which created fresh aspects in the form of new fairytale plots. The analyzed fairytales prove that the Tuvinian people not only mechanically adopted these plots, but were also able to creatively transform them in their creative writing. [ABSTRACT FROM AUTHOR]

An introduction is presented in which author discusses articles on topics including focuses on A. S Byatt "Medusa's Ankles: Selected Stories" in 2021 coincides with the original year of publication intended for this special issue and at a conference devoted to "Exception(s)".