Search

Copyright of Journal of American Studies of Turkey (JAST) is the property of Journal of American Studies of Turkey (JAST) 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.)

František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021, the Czech Republic together with the entire Portuguese-speaking world commemorated the centenary of his birth. In addition to his extensive work in several languages, he also played a crucial role in a historic revival of Czech-Portuguese cultural relations, for which we are indebted to him. Listopad was a man of three names and several homes. He was born in 1921 in Prague as Jiří Synek. He published his first short stories under this name. During World War II, he was persecuted for his Jewish origins. However, he avoided deportation to a Nazi camp, hid with friends and was active in the resistance as a member of the illegal organization “For Freedom” (Za svobodu). For reasons of secrecy, he changed his name to František Listopad. At the same time he also began to write poetry and literary reviews. After the war, he became a co-founder of the daily Mladá fronta. After initial enthusiasm, he began to criticize the communist regime, mainly for restricting human freedoms. In 1947, he was sent to Paris as an editor of the weekly Parallèle 50. After February 1948, he was ordered to come back to Czechoslovakia, but he did not return. In France, he focused mainly on writing essays and working for the emerging local television. In 1958, he moved to Portugal, where he lived until his death in 2017. Here he chose a different name – Jorge Listopad. Listopad considered Salazar’s authoritarian right-wing regime to be very restrictive, but much freer in many ways than Czechoslovakia of the time; for example, it did not prohibit citizens from travelling abroad. In Portugal, in addition to significant literary work, Listopad devoted himself mainly to theatrical productions. He also became a university teacher. He never moved back to his original homeland to stay there permanently, but after the 1989 Velvet Revolution he often travelled there. He presented his plays there and published collections of poems and short stories. In his literary and theatrical works, František Listopad often existentially reflected the life in three unfree systems: the period of Nazi occupation of Czechoslovakia, communism and Salazar’s dictatorship in Portugal. [ABSTRACT FROM AUTHOR]

This article focuses on representations of the city in 20th- and twenty-first-century Moroccan literature. In particular, this work concerns itself with the different social, historical, and political forces that together contribute to the construction of urban spaces, and it draws on a number of critical and theoretical fields, including cultural memory studies and literary studies, while at the same time considering different contemporary Moroccan urban structures from a spatio-temporal perspective. More precisely, this article addresses the city in Medieval, colonial, and postcolonial Morocco as a territory of individual and collective memory in Fās ... Law cĀdat Ilayh (2003) (If Fez Returned to Him), a novel by Aḥmad al-Madīnī, and Le griot de Marrakech (2005), (The Griot of Marrakesh), a collection of short stories by Mahi Binebine. This study examines various cultural monuments, including the imperial city gates, the Mellah (Jewish quarter), texts both North African and Andalusi, and historical personalities, insofar as they function as lieuxdemémoire according to Pierre Nora's usage of the term. These components of Moroccan cultural heritage function as manifestations of history through memory, rooted both in material and immaterial figures, and constitute national identity: an interfaith, multiethnic, and pluri-linguistic Morocco. [ABSTRACT FROM AUTHOR]

This study reveals the human content and the thin emotional line that unites all of humanity, regardless of their affiliations, religions and times, and that positive human relationships are one fundamental thing that has not changed over the ages, but the negative change occurred from the human himself as a result of a culture of violence and panting behind matter. The short story collection (A Land of Honey) by the writer/human Haitham Bahnam dreamed of a supposed utopia far from the present deteriorating reality and replaced it with a magical reality that was the awaited hope for salvation from wandering and for the peace of the diaspora. His places were enchanted and his characters were miraculous, and despite these supernatural things, she announced her repression in front of the warehouse of evil that settled souls and minds, but she lost a round and did not lose a battle, and the dream of the land of honey remains. [ABSTRACT FROM AUTHOR]

At the very end of the Qing dynasty, Xue Fucheng (1838-1894) and his circle produced a series of writings about empresses and imperial consorts of previous dynasties, in which they constructed a sympathetic discourse about elite women who had suffered exploitation and abuse. This paper analyzes a single text, Spring Colors in the Han Palace (Hangong chunse), and argues that this collection of short stories was written to explore new perspectives on the life of Empress Zhang (202-163 BCE) and reconfigure her as a symbol of patriarchal oppression. The empress is described as a paragon of virtue, who has fully internalized traditional Confucian models of how a woman should behave; a process which has left her so mentally and emotionally crippled that she is unable to deal with the challenges she faces during her lifetime. In these tales, Empress Zhang's biography is reappraised in the light of late Qing progressive discourses about social norms, as well as tackling such controversial issues as women's chastity and footbinding. [ABSTRACT FROM AUTHOR]

The essay discusses images of the future in solarpunk and post-apocalyptic fiction, focusing on their distinct approach to the narratives of progress, science, and individualism. The dystopian perspective of post-apocalyptic fiction is juxtaposed with the hopeful stance of solarpunk stories in order to outline the attempts to move beyond environmental pessimism and to imagine a liveable future. A reading of Cormac McCarthy's The Road (2006), Erik M. Conway and Naomi Oreskes's The Collapse of Western Civilization (2014), and Omar El Akkad's American War (2017) provides an overview of early 21st-century dystopian motifs and visions, while the ideas and development of solarpunk fiction are discussed on the basis of three anthologies of short stories: Sunvault: Stories of Solarpunk and Ecospeculation (2017), Glass and Gardens: Solarpunk Summers (2018), and Multispecies Cities: Solarpunk Urban Futures (2021). The aim of the essay is to argue that apocalyptic and solarpunk fiction stand in a relationship of apposition to one another, representing dominant and emergent structures of feeling. [ABSTRACT FROM AUTHOR]

François Ricard submits that there are two approaches in Gabrielle Roy’s work: the first is directed mainly towards social concerns, as exemplified in Bonheur d’occasion, while the second is more idyllic and emphasizes autobiographical memories to a greater extent. The collection of short stories, La rivière sans repos, in which the author sheds light on the drama of contact between different civilisations, is an instance of the first approach. A number of symbolic images attempt to show that the intrusion of the White man into the Inuit world transforms the latters’ thinking and introduces issues of progress: a plane appearing in the «Great North» sky («Les satellites») or the fly-over of Fort Chimo by a G.I. and an Inuit woman’s son («La rivière sans repos»); the telephone, a game which Barnaby soon tires of, and the wheelchair whose usefulness Old Isaac finds debatable. Whether in the guise of films that disturb the imagination, or the bewildering modern comforts that create conflicts between the generations and make any re-adaptation to traditional ways more difficult, do the Inuit not see progress as a source of alienation rather than a cause for happiness? Even the most resistant among them are victims of this all-invasive progress, leaving them totally at sea before the problems of disease, old age and death. In «La rivière sans repos», Elsa experiences, body and soul, this drama of the clash of civilisations. At different times in her life, she tries in vain to raise her child, adapt to change, go back to life with the immutable Inuit, and ultimately return to the White man’s city. She fails, and as her son grows up, he retreats from her, drawn towards his father’s land. A pessimistic vision that conveys Gabrielle Roy’s sensitivity to human anguish. [ABSTRACT FROM AUTHOR]

The seven tales that shape José Prado's Cuentos del Monte y de la Chacra are linked through the signifying nodes of the representation of the feminine role and its subordinate position with respect to masculinity. On the one hand, there is an evident imposition of housework, or socio-culturally pre-established manual labors, in the family sphere. On the other hand, women's submission is derived from the marriage structure understood as an agreement of dominance of men over women. Finally, the patriarchal dominance is emphasized by the differentiation between the feminine and masculine roles at the discursive level. In Prado's narrative, the oppression of the patriarchal system imposed on the feminine body exercises a social pressure that determines the subordinate role of women. However, in some characters it is possible to observe incipient hints at rebellion and opposition to the masculine dominance. This research thus analyzes the ways in which Jose Prado's writing represents heteronormative relationships from the subordinate place assigned to women throughout the collection of short stories. [ABSTRACT FROM AUTHOR]

The object of this study is to explore the relationship between 'home' and the decline of ethnic identity in the female characters of Bharati Mukherjee's collection of short stories Darkness (1985). This paper argues that while it is generally accepted that diaspora entails a questioning of a sense of belonging (Kennedy, 2014: 12), for Bharati Mukherjee, "the price that the immigrant willingly pays, and that the exile avoids, is the trauma of self-transformation" ("Two ways to belong in America", 1996). This article seeks to contextualize the Indian diaspora in its roots and routes, proving an inextricable link with gendering of the concept of 'home' in Bhattacharjee (1996). The introduction is underpinned by a theoretical framework on diaspora namely South Asian female migrants in the United States, and an analysis of the Indian concept of nation, from which the literary assessment departs. [ABSTRACT FROM AUTHOR]

This essay focuses on Irish writer Kevin Barry's first collection of short stories, There Are Little Kingdoms (2007). The Ireland depicted in this work is the Ireland of the new millennium - a territory facing the transformations of Celtic Tiger prosperity. The analysis of these short stories, which provide several snapshots of contemporary Ireland, will explore how the Republic depicted in Barry's work is a territory in some ways bound to its rural past, often characterised by its short-sightedness despite pretensions of development. Changes are occurring, but at the same time stasis permeates the scenarios of the plots. The irony is salient, considering that the Celtic Tiger era is a time associated with prosperity and joy, yet the lives and stories of the characters of There Are Little Kingdoms (2007), as this essay will reveal, are downbeat. [ABSTRACT FROM AUTHOR]

Copyright of Alif: Journal of Comparative Poetics is the property of Alif: Journal of Comparative Poetics, AUC 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 Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae 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.)

Creativity is defined as the screen that shows the hidden ideas of the human mind. It is the product of deep thinking about a specific problem or thing, which has different faces, the most important of which is writing. Writing is a skill of producing creative texts without grammatical mistakes using an attractive style with poetic or rhetorical language, i.e. it translates students' imaginations and thoughts on papers. Iraqi Ministry of Education is one of the educational institutions that is interests in developing students' creativity using many techniques. Therefore, the ministry makes many changes to its educational programs, such as the English curriculum. The new curriculum is called English for Iraq (EFI). The current paper depends on qualitative methods of research to seek how the technique of EFI of the intermediate schools develops students' creative thinking by using writing skills as a creative means that produces three books: scrapbook, school magazine and collection of short stories. The researcher focuses on the three books of the intermediate stage, which are 1st, 2nd, and 3rd intermediate. [ABSTRACT FROM AUTHOR]

Copyright of Przeklady Literatur Slowianskich is the property of Wydawnictwo Uniwersytetu Slaskiego 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 Knjiženstvo is the property of University of Belgrade, Faculty of Philology 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.)

Rachel Joyce's short story collection A Snow Garden and Other Stories (2015) is composed of seven stories which occur during a fortnight of the holiday, Christmas season. The collection uses narrative techniques which make it a unique set of stories. The stories have an urban setting and examine the intricacies of human relationships. The sense of interconnection highlighted by Joyce in the stories elevates it to a short story cycle. A short story cycle consists of individual stories which can stand on their own as complete narratives while also maintaining fictional links running through all the stories. The paper is an attempt to establish A Snow Garden and Other Stories as a short story cycle. It also argues that by narrating the interconnected nature of human lives Joyce's work is exploring life as a complex system. As a scientific philosophy complexity theory explores the behavior of complex systems including human societies. Complex systems are self-organizing, dynamic, evolving networks that operate without any centralized control; similar to human societies. This paper will apply the principles of complex systems to reveal patterns of human behavior represented in Joyce's work. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Humanisticos. Filologia is the property of Universidad de Leon, Area 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 Acta Universitatis Lodziensis: Folia Litteraria Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 focuses on three American Romantic writers: Emerson, Thoreau, and Hawthorne, examining the problem of ghostliness or life not fully lived present in their works. The point of departure for the present discussion is Arnold Weinstein's analysis of Hawthorne's short story "Wakefield," suggesting that the main goal of its protagonist is an attempt to become real to himself. This paper finds similar issues to the ones tackled by Hawthorne in the essays by R.W. Emerson and H.D. Thoreau, and argues that the method applied by Wakefield, which is looking at one's life from a distance, is also present in the two Transcendentalists' writings, though often as a danger rather than a wished-for solution of the problem. [ABSTRACT FROM AUTHOR]

"Beyond the threshold of war, there seemed to be no reality and no past" (Hoffman 13). In her celebrated book After Such Knowledge: A Meditation on the Aftermath of the Holocaust (2004), Hoffman discusses the pervading presence of the Shoah in Jewish culture and memory, its psychological, emotional, and the historical reverberations of such catastrophe but, above all, she analyzes the effects this has had on the survivors' descendants. Also described by Hirsch, members of the second generation--like Hoffman and herself--established a strong relationship to "the personal, collective, and cultural trauma of those who came before" so much so that their parents' memories "constitute memories in their own right" (Hirsch 5). This has had such a powerful influence on later generations who have grown up with such inherited memories of catastrophe and trauma, that many of them have started questioning some of these accounts. One such writer is the Jewish American author Nathan Englander who, in his critically acclaimed short story collection What We Talk About When We Talk Anne Frank (2012), engages in a discussion regarding postmemory and its influence on the creation of both a Jewish cultural narrative and collective memory, and how this affects the characters' lives on many different levels, as well as the voices of third generation authors indirectly. In his work, Englander addresses the discussion of the memory of the Shoah and its later rewritings in quite a provocative way: by means of humor which, as scholars such as Rosenberg and Krijnen maintain, seems to constitute one of the main characteristics of contemporary Jewish writing (Rosenberg 2015; Krijnen 2016). Therefore, it is the aim of this article to analyze Englander's use of such technique to provide new insights on what it means to be Jewish American today and the effects of the Shoah and its inherited memory on third-generation Jewish American intellectuals. [ABSTRACT FROM AUTHOR]

Although Joyce's interest in disability has often been commented on, this is the first book-length study that takes Joyce's engagement with disability and non-normativity as its focus, making this link concrete and central as opposed to peripheral or secondary. Jeremy Colangelo (ed), Joyce Writing Disability (University Press of Florida, 2022), pp. xiv + 250, $85.00 (Kindle e-book), ISBN 9780813069135 I Joyce Writing Disability i is a fascinating and original collection of essays edited by Jeremy Colangelo. It is also important to note how this collection seeks to move away from the pathologised and diagnosis-focused model of disability and is extending disability studies to consider illness and trauma studies. [Extracted from the article]

This term is "guided by" Bambara's "own words" (17), whereas the first part of the book's title, I "Black People Are My Business i , I " i is derived from a Bambara quotation (12). By focusing on her community service labor and fiction writing, Lewis lays important groundwork for future Bambara studies. [Extracted from the article]

Copyright of Porównania / Comparisons. A Journal on Comparative Literature & Interdisciplinary Studies is the property of Adam Mickiewicz University Poznao, Press of "Poznanskie Studia Polonistyczne" 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.)

I seek to demonstrate the extent to which meaningful truth(s) can be extracted from a work of memorable literary fiction. This evocative autoethnography employs elements of Creative Analytical Practice (CAP) within a trilogy of short stories (episodes) each inspired by 'Shoeless Joe', the fictional novel that provided the inspiration for the fantasy baseball movie 'Field of Dreams'. Whether consumed individually or altogether, the three-part production offers the opportunity to experience the power and potential of producing personal narratives. Episodes One, Two and Three are piece of creative non-fiction that incorporate the aspects of personal narrative, ethnodrama and autobiography. The principles and practices of occupational devotion and heritage sports tourism are explored and exploited throughout, providing a platform for new learning and a potentially a new way of seeing the world(s) we inhabit. [ABSTRACT FROM AUTHOR]

This article analyses Aruni Kashyap's short story collection His Father's Disease. Kashyap challenges hegemonic structures through an emerging writing area tentatively classified as 'Anglophone fiction from Northeast India'. By engaging with Foucault's reading of Power/Knowledge this article examines the disciplining of literary regionalism (Anglophone literature from Northeast India), territory and sexuality encapsulated in Kashyap's exposition of heteronormative societies across cultures. Through the stories Kashyap weaves a dialogic space within the narrative world that challenges various forms of stereotypes relating to regional representation in literary works as well as regional identity and sexuality prevailing in the contemporary world's existing social and literaryscape. Therefore, it becomes pertinent to observe how Kashyap's text becomes a site of contention where on one hand the stereotype is accommodated within the power structure, hence controlled and regulated by various agencies, and on the other hand the same knowledge is appropriated by the author as a counter-narrative/reverse-discourse. [ABSTRACT FROM AUTHOR]

Claire Keegan is one of the most prominent voices within the contemporary Irish short story panorama. Internationally acclaimed, her prose has been praised for its frank and bitter portrayal of a rural world, whose outdated values, no matter how anchored in the past they might be, still prevail in a modern milieu. Keegan's unsympathetic views on society, mainly on the Catholic Church and the family, are the main targets of her harsh criticism. Issues like gender and sexuality, two social constructs with which to validate an uneven distribution of power, constitute the pillars of most of her plots. Bearing these aspects in mind, my proposal focuses on the analysis of Keegan's first collection of short stories, Antarctica (1999), in light of gender relations and female agency, in an attempt to find patterns of – often thwarted – female emancipation in the context of the rapid changes of a society that is still adjusting to a globalised world. This article will also engage in the discussion of her second collection, Walk the Blue Fields (2007), and her long short story Foster (2010). [ABSTRACT FROM AUTHOR]

This study discusses class and semantic shifts of adverbs of modality in the Korean short story and its Bahasa Indonesia translation in the short story anthology of ‘Langit dan Kupu-Kupu. This study aims to identify how the adverbs of modality original text change into a different word class in the target text. The sources of data in this study were six Korean short stories entitled ‘Dua Generasi yang Teraniaya’, ‘Seoul Musim Dingin 1964’, ‘Jalan ke Sampho’, ‘Bung Kim di Kampung Kami’, ‘Dinihari ke Garis Depan’, dan ‘Betulkah? Saya Jerapah’ and its Indonesian translation. This study was conducted using a descriptive qualitative method, and the design of a linguistic corpus was used to collect analytical data. The analysis results found that from 46 adverbs of modality, four translated adverbs remained classified as adverbs. At the same time, the other ten words change their class into pronouns, nouns, particles, adjectives, and verbs. Additionally, the other 32 words have a combination of adverbs and other word classes. Furthermore, of the 290 adverb words in the source text, 143 words were accurately translated, 100 were deleted, and 47 changed their meaning in the TT. In the translation of Korean- Indonesian short stories, the shifting technique is used to adjust differences between Korean and Indonesian grammar systems. Translators also make a shift in the word's meaning of short stories as long as they do not deviate from the context and message in the ST to produce a natural translation that TL readers can easily understand. [ABSTRACT FROM AUTHOR]

This paper focuses on a ghost story originally published in 1861 and then incorporated into a memoir published in 1887–9 by the Hungarian woman writer and editor Mária Csapó (1828–96), better known as Mrs Vachott. With the examination of the ghost story's changing publications, the paper clarifies the process during which this apparently independent ghost story became a powerful metaphor for Mrs Vachott's strenuous life with haunting memories, as recorded in her published memoir. It appears that this same ghost story had been influenced by a Hungarian translation of Walter Scott's "The Tapestried Chamber" (1829) that Mrs Vachott read in a collection of short stories issued in 1836. Thus, the successful combination of the two narratives, the ghost story and the memoir, not only makes Mrs Vachott's experiment truly remarkable, but also gives valuable insights into Scott's influence on nineteenth-century Hungarian women's writing, and into the changing possibilities of the ever hybrid form of the Gothic. [ABSTRACT FROM AUTHOR]

The aim of this article is to discuss three representative works by Dalit writers—Bama's Karukku (2014), the first autobiography by a Dalit woman, Baby Kamble's memoir, The Prisons We Broke (2015), and Baburao Bagul's collection of short stories, When I Hid My Caste (2018)—that reveal how, despite some improvements in their condition, the Dalit community continues to be subjected to various, at times, subtle, forms of discrimination in present-day India. The analysis of these works suggests that, while India is the most populous democracy in the world (1.3 billion), its democracy is tainted by a remnant of the past: its caste system. Although the practice of untouchability was legally abolished after India's independence in 1947, and the overall living conditions of the lowest caste, the Dalits (25% of the population) have slowly improved over the years, the legal measures undertaken by the government have failed to guarantee their equality and inclusion in all social spheres. The three literary works reveal that casteist discrimination has not ceased but rather has changed its appearance, which is why, in the words of Urvashi Butalia, "there is still a long road to be travelled" before India overcomes its democratic deficit, its inherited casteism. [ABSTRACT FROM AUTHOR]

This article confronts the theoretical tenets of reader-oriented short story collection theory and its implications for a literary analysis of Benni's Il bar sotto il mare (1987) with the results of an empirical study of 12 readers. Through free recall tasks and open questions, we collected their recall of stories, specific passages, recurring topics and general interpretation to assess the processes of reticulation (i.e. searching for recurring elements in stories) and modification (i.e. modifying initial hypotheses based on the identification of new elements) advanced by Audet (2014). This confrontation revealed noticeably disagreeing results. Our findings suggest that flesh-and-blood readers adopt a more straightforward and intuitive approach when reading and interpreting collections as they are subject to a strong primacy effect, privilege personal appreciation of specific stories and passages, and rely on a disinclination to alter initial interpretative hypotheses. The findings pave the way for further investigation into the readers of SSCs. [ABSTRACT FROM AUTHOR]

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata 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 modern novella or nouvelle is an object of artistic order of concentration and suggestion. In it, there is a tension between the objective and the subjective, circumstances that bring it closer to other literary forms different from the short story and the novel. Based on this idea, this article presents and discusses the closeness of the modern novella with drama and poem, literary and artistic expressions that also achieve their aesthetic effects through a short or medium length. [ABSTRACT FROM AUTHOR]

Julieanne Lamond's book, "Lohrey," explores the career of Australian author Amanda Lohrey and her seven novels, as well as her collection of short stories. Lamond discusses Lohrey's diverse writing style and how it has made her difficult to market and promote. The book delves into the themes and contradictions present in Lohrey's work, such as the search for truth and the impact of gender structures. It also examines the implications of the pastoral narrative in Australian history and the effects of British Imperialism. Lamond's book offers a balanced blend of author biography and thematic exploration, providing readers with an engaging and insightful perspective on Lohrey's writing. [Extracted from the article]

The article focuses on correcting the historical perception that Marie Corelli's short fiction was not initially published in periodicals. Topics include the discovery of her works in publications like the Theatre and London Society, the fictional elements in overlooked pieces, and the reassessment of Corelli's engagement with the periodical press, highlighting her strategic use of the European publishing market and the experimentation with form in her short story collections.

Here, we see L'Official identify an insider-out perspective that embraces the "spatial limits" of the Bronx but also gives agency to a South Bronx imagination that is not limited to the geography of its neighbourhood. In 1977, President Jimmy Carter added a tour of the South Bronx to his New York City trip in order to avoid criticism of insensitivity to "inner-city problems" (p. 4). [Extracted from the article]

B Hannes Bajohr b received his doctoral degree from Columbia University, New York, with a dissertation on Hans Blumenberg's theory of language. He is a Junior Fellow at the Collegium Helveticum, the joint Institute for Advanced Studies of the ETH Zurich, the University of Zurich, and the Zurich University of the Arts, with a project on models of AI authorship. Her interest in post-criticism and translation, particularly when applied to modernist and foreign texts, has shaped her university experience. [Extracted from the article]

This article explores Elsa Asenijeff 's collection of short stories Unschuld: Ein modernes Mädchenbuch (1901; Innocence: A Modern Book for Girls, 2018) in the context of the cultural and societal landscape of Wilhelmine Germany and in relation to contemporary analytical frameworks associated with postfeminism. Asenijeff 's text undermines Mädchenliteratur (literature for girls and young women) as a genre that traditionally regards heterosexual love and marriage as the goals of female adolescent development. By contrast, Unschuld exposes the bourgeois family as a key site where patriarchal power is (re)established and makes visible the realities for women and girls living under patriarchal authority in Wilhelmine Germany. This article places Unschuld into dialogue with core features of postfeminism, among others the (self-)scrutiny of women's bodies. This transhistorical reading emphasizes the pervasiveness of patriarchal power as well as the imbrication of literature for young women and girls in the production of hegemonic femininity. [ABSTRACT FROM AUTHOR]

This article examines the urban fiction of Jeanne Marni's 1898 Fiacres, a collection of twenty-five stories that first appeared in the daily newspaper LeTemps. The stories are presented in the form of dialogues transcribed by an invisible spectator from within the horse drawn carriages for hire, the fiacres, the fin de siècle taxi cabs. Training her eye on and lending her ear to Belle Époque Paris, Marni registers the conversations of Parisians as they move about the city. In these feminocentric, and by turns humorous or ironic texts, Marni hones an "urban comic" that merges two nineteenth-century figures: the "invisible" flâneuse and the "inaudible" rieuse, or funny woman. Focusing on the intersection of the representation of urban experience and the humorous in Fiacres, this article situates Marni's sound bites within a genealogy of women writers and the city that looks back to Delphine Gay de Girardin's witty chronicles of JulyMonarchy Paris, the "Courrier de Paris" (1836-1848), and ahead to Annie Ernaux's ironic journal of urban selfhood in transit, Journal du dehors (1993). [ABSTRACT FROM AUTHOR]

This article examines three scenes of protest, from a short story, a theatre production, and a public protest, respectively. It argues that these scenes demonstrate the power of embodied objection to function as voice when speech itself is unheard. The screaming, naked bodies in these scenes exceed liberal conceptions of agential voice and reconceptualize vulnerability and exposure as a mode of political action. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers de la Nouvelle: Journal of the Short Story in English is the property of Presses Universitaires de Rennes 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 Cahiers de la Nouvelle: Journal of the Short Story in English is the property of Presses Universitaires de Rennes 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 Cahiers de la Nouvelle: Journal of the Short Story in English is the property of Presses Universitaires de Rennes 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.)

Alice Munro published in 2012 her last collection of short stories, Dear Life, which includes "Finale", a quartet of stories introduced by the author in semiautobiographical terms. The relevance of the themes addressed is, as may be inferred, significant in relation to her life and previous work. In fact, they echo her first two collections of short stories --Dance of the Happy Shades (1968) and Lives of Girls and Women (1971)-- not only in motifs and events, but also in style. This paper analyses and compares this last section --Munro's conclusive contribution to the literary world-- with her early work to establish joint features and similarities in order to support and extend the often-claimed autobiographical dimension of Munro's fiction from this unexplored perspective. In addition, this process of analogy has recognised the author's literary and emotional closure in relation to her mother, a hitherto elusive endeavour in her work. [ABSTRACT FROM AUTHOR]

This text is focused on the short stories from the collection Urban and Forest Tales by Mimoza Petrevska Georgieva in the context of human (and also human-nature) relations. For this purpose, Petrevska Georgieva's prose is analyzed from the perspective of the notions on closeness and estrangement given in the works I and Thou by Martin Buber, Politics of Experience by Ronald D. Laing and One and the Universe by Ernesto Sabato. [ABSTRACT FROM AUTHOR]

Copyright of Scientific Journal of King Faisal University, Humanities & Management Sciences is the property of Association of Arab Universities 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.)