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The article takes as its topic quantitative approaches used in the study of literature. In the field of digital humanities, these are most readily represented by the method of distant reading developed by Franco Moretti. The aim of the article is to evaluate the possibilities and challenges the given method poses. At the same time, it wishes to offer new solutions with regards to the explanation of the seemingly asymmetrical quantitative data in the context of possible interpretations of a work of literature from the perspective of cognitive literary studies. Reflections presented in the paper are based on Richard Změlík's quantitative research. In his methodologically-centred monograph Konceptualizace barev v narativní fikci na pozadí kvantitativních modelů ([Conceptualisations of colours in narrative fiction on the background of quantitative models] Olomouc: Univerzita Palackého, 2019, 320 pp.), he summarised the distant reading of colour semantics in the fiction of the Czech writer Jan Čep (1902 - 1973). A close critical reading of Změlík's research reveals strengths and weaknesses of the method he employed. Greatest attention is paid to developing supplementary conclusions regarding the reading of Čep's book Modrá a zlatá [Blue and gold]. The collection of short stories works with specific colour semantics and as such presents a challenge to the quantitative method employed by Změlík. [ABSTRACT FROM AUTHOR]

An introduction is presented which discusses several short stories such as Farah Ali's "Beautiful," Karen Parkman's "The Remembered Earth," and Wayne Lee Gay's "Hustler Remembers Stanley."

This article analyses the literature-cinema dialogue established by the Ecuadorian writer Gabriela Alemán in her short story collection La muerte silba un blues (2014). Firstly, I revise how Alemán borrows the production methods of the cult Spanish filmmaker Jesús "Jess" Franco to craft a collection that aids us to see the world as an interconnected whole. Secondly, I close read the story that opens the collection, El extraño viaje , which takes Orson Welles' radiophonic adaptation of The War of the Worlds to the Ecuadorian context. My argument is that, in making the city of Quito the target of H.G. Wells' Martian invasion, Alemán engages with a rich history of multimedia adaptations and places Ecuador's capital at the centre of a global narrative. I argue that her work decentres and recentres world literature dynamics where Latin American literature in general, and Ecuadorian writing in particular, sit at the periphery of world literary systems. [ABSTRACT FROM AUTHOR]

People from all over the globe told their stories of living with mental health challenges. These twelve people had numerous commonalities and reflected on a number of salient themes and lessons for those of us in the mental health field as well as those with lived experience. These lessons are especially important since we have been experiencing a global pandemic, which has exposed an urgent need to understand comorbid conditions including mental health. It has also highlighted the importance of diversity, accurate scientific communication and kindness to one another. Important lessons I learned reading this collection of short stories are organized into these topics: a) words matter; b) it should not take a pandemic to realize that people are living with mental health challenges and they need our help now; c) there are more similarities than differences in the world; d) trustworthiness is foundational to wellness; e) people with mental health challenges need to be heard, and, f) love is a powerful fixer. [ABSTRACT FROM AUTHOR]

While the self-reflexivity of Barth's short story collection Lost in the Funhouse is largely recognized, locating and defining its key focus has generated wider controversy, with most scholars adopting either a linguistic, metafictional stance, or a philosophical, existentialist one. Taking "Night-Sea Journey" as a case example, this paper aims to conflate both readings of Barth's tales in order to reveal how both principles co-construct each other, for their concerns (as featured in the book) are not only correlative but inseverable. The study's structure, mirroring that of the tale, will map the strategies employed to convey its existential preoccupations, as well as the violation of narrative expectations through which the text's postmodern playfulness breaks in. In this way, the story's concurrent deployment of materiality and transcendence, deep philosophy and light humor, canonical literature and satire, shall all be intertwined toward a comprehensive understanding of the collection's major theme: the cyclical nature of human history, and the eternal rewriting of our stories. [ABSTRACT FROM AUTHOR]

American scholar and literary translator Suzanne Jill Levine's seminal monograph, The Subversive Scribe: Translating Latin American Fiction (1991), furnishes prime examples of her active role during the co-translation of works by subversive, creative authors like the Cuban-British writer Guillermo Cabrera Infante. The intention of this article is to discuss another type of collaborative translation by focusing on her working relationship with the Argentinian author Julio Cortázar during the translation process of his collection of short stories Todos los fuegos el fuego (1966; All Fires the Fire and Other Stories, 1973). An exploration of Cortázar's working life as a translator reveals that he was far from being a playful author, willing to perform a 'creative self-betrayal' of his volume of short stories, and that his understanding of original text and translation defined his collaboration with Levine. An analysis of his correspondence with her, including the examination of mistakes that had been highlighted by Cortázar, and of her incorporation of corresponding amendments in her final version aims to prove that Levine translated his short stories as a non-subversive and efficient scribe, guided by Cortázar's controlled cooperation and with his interference disguised as assistance. [ABSTRACT FROM AUTHOR]

Copyright of Akademi Sosyal Bilimler Dergisi is the property of Akademi Sosyal Bilimler Dergisi 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 selection of the creative Iraqi storyteller (Haitham Behnam Barada) came as a field to study the research for what his collections of very short stories bear, which were called (suspended love / the second night after a thousand / the isolation of Enkido / The Identification / Ships and Caves) which he collected in one volume entitled (Works The complete: the very short story) which was printed in Jordan by Dar Al-Now Publishers and Distributors / Amman / 2019 of coherent artistic techniques in which he worked to preserve the identity of the narrative text in an integrated manner, as well as relying on signal, lighting, a quick glance and a visionary stroke to express life experiences in society, Therefore, Al- Alamah formed a distinct phenomenon in his very short narrative works, working to uncover art and produce a new meaning within the communicative discourse between the narrator and the reader. The research came through its study on an entrance and two researches. The first topic included a study of (types of reference personality) in terms of dividing them into social personality, historical personality and symbolic personality, while in the second section we devoted the study to (personal belongings), which in turn was divided in terms of name, character and profession as well as description and dialogue. [ABSTRACT FROM AUTHOR]

The present contribution focuses on the presence of Gulag argot in Julija Nikolaevna Voznesenskaja's The Women's Decameron, more specifically on the short stories told by Zina, the former Lager prisoner by means of linguistic analysis and the recently published Dictionary of Russian Slang Expressions: The Lexicon of Penal Servitude and Camps in Imperial and Soviet Russia by Leonid Gorodin. The following study aims to describe the aforementioned stylistic strategy from The Women's Decameron as a form of skaz, but also to underline how language works in this context as lieu de mémoire. It is possible to define the Gulag argot as a site of memory, especially when considering the recent study and exhibition by the Gulag Museum in Moscow, named The Language of Unfreedom. This exhibition called attention to the extent in which the lexicon of Gulags has become part of everyday language, its violent heritage ignored, and this original violence underplayed. The work of the Gulag Museum in Moscow underlines the important role of language in preserving history. The memory of Gulag camps is also a recurring theme in Julija Voznesenskaja's literary and journalistic work; therefore, the usage of Gulag argot cannot be interpreted only as a literary motif, but also as a way to preserve the tragic memory of concentration camps. [ABSTRACT FROM AUTHOR]

In Junot Díaz's short story collections, Drown (1996) and This Is How You Lose Her (2012), sound plays a crucial role in the representation of the experiences of the Dominican migrants in the United States who populate their pages. The collections show the liminal situations which the stories' characters face, emphasizing their shifting acoustic environments and the pressure to shape one's own sonic identity to meet the demands of the new language and culture. The experiences of these Dominican migrants – particularly how they are targeted by the Americans they encounter because of their accents – reflect the politics of a cultural neo-racism which differs from the discourse of colonial Otherness but which bears the same monocultural logic. As such, the stories' migrants become silenced rather than invisible. At the same time, a belief in the power of the Other's personal and culturally specific voice as a transformative element is emphasized in these collections with Díaz's use of Spanish and the narrator's persistent presence throughout all of the stories. [ABSTRACT FROM AUTHOR]

Richard Wright's second edition of his collection of short stories, Uncle Tom's Children (1940), entails both hidden and open forms of defiance against Jim Crowism and Uncle Tomism. In the opening essay of this collection, namely, "The Ethics of Living Jim Crow: An Autobiographical Sketch," Wright enlists nine lessons of his nonviolent activities to fight back White oppression. In "The Introductory Essay: Richard Wright's Covert Challenging of Jim Crowism and Uncle Tomism" (2010b), I restricted the study to four out of nine of Wright's lessons, two from the beginning and two from the ending of the essay, to stress Wright's "evasive actions, and his covert activities, such as silence, playing the role of the Monkey trickster in the library, lying consistently to whites if this act did not question his life and 'sly civility,' to fight the humiliation imposed by Jim Crow laws and customs back." Thus, in that article, Wright's four proactive acts of defiance have been studied. In this article, however, I intend to focus on four short stories of Uncle Tom's Children in which the fictional characters, comprising a community of Black children, Black men, and a Black woman, turn to more visible and overt forms of resistance against Jim Crowism by resorting to guns. Since individualistic acts of defiance occurred four times in five stories of the collection, it is necessary to study them. This study has excluded "Fire and Cloud" because it employs a communal and nonviolent act of defiance against White oppressors by marching for food. Except for "Fire and Cloud," in all stories firearms are employed as a means of overt defiance. Toward the end of the stories, as I propose, there is an advance from unpremeditated but justified self-defense to purposeful open defiance using guns. Both in Wright's own covert, yet proactive, acts of defiance in the introductory essay and in the overt yet reactive and individualistic acts of resistance against White oppressors in the short stories, it is the Whites who are the originators of violence and Blacks had to resort to violence to maintain their honor, dignity, or pride. [ABSTRACT FROM AUTHOR]

The article analyzes the originality of the artistic psychologism of M. Kotsyubynskyi's short stories. The analysis focuses on the artistic portrait - one of the external psychologism means used by the writer. It has been studied the evolution of the artistic portrait in the novelist's work, which is directly related to the writer's search for his own style. The overemphasis of the portrait functional purpose is traced: from the traditional depiction of the hero's appearance set of features to the way of lyricization, intimacy, transformation into a means of general psychologization of the text, reflecting the general trends of the portrait of the XIX - early XX century. [ABSTRACT FROM AUTHOR]

Margita Figuli (1909 -- 1995), one of the leading Slovak women writers of the interwar period, is best known for her acclaimed novel Tri gaštanové kone (Three chestnut horses, 1940). At the time of its publication, her prosaic debut, the less widely popular collection of novellas Pokušenie (Temptation, 1937), also received favourable reviews. The period critics appreciated her ability to express emotionality and thematise the conflicting emotional and physical aspects of love as well as the stylistic qualities of her prose. Not so much attention was paid to the progressive ideological frame in which she focused on the role women played in a period when the society was looking for the meaning of life of the modern human being. Her debut collection presented her vision of the development of women who attempted at embracing their own potential. The texts advocate the value of women in the context of modernising efforts and emancipation movement of the 1930s. The article analyses Figuli's novellas in the context of her journalism published in the women's magazine Živena that thematises the „eternal feminine" in the new era. [ABSTRACT FROM AUTHOR]

With the recent prevalence of white supremacist discourses in the United States, Asian Americans have unavoidably been subjected to xenophobic gazes and tendencies. The white gaze has traditionally enjoyed the privilege to objectify and fix the diasporic subject both racially and ethnically, foregrounding a relationality that naturalizes the immigrant as the inferior subject. The Vietnamese American writer Viet Thanh Nguyen recounts similar unsettling experiences and sufferings of the Vietnamese (refugees) in his debut short story collection The Refugees (2017). This essay seeks to explore the narratives to outline the patterns of looking dynamics and stratified and interracial gaze operating among the characters. To this end, Lacanian theories of the gaze, the jouissance drive and the mirror stage are employed to examine the subtle nuances and complex mechanisms of looking relations that are instrumental in the development of Vietnamese characters. It is easily noticeable that the growing consciousness among the characters of their prescribed inferior position in the scopic order engenders in them feelings of anxiety and/or conflicting sexual impulses, or the jouissance drive. Nonetheless, the hierarchal gaze is not depicted throughout the collection as an essentialized and fixed phenomenon. Rather, some of the Vietnamese characters succeed to control, recodify and reassert the prevailing structural domination of the looking relations, and hence reclaim their agency and subjectivity in relation to the Other. It is concluded that Nguyen successfully upends the dominant discourses of representations in which the Americans' centrality is eternalized while the Vietnamese' is prescribed and nihilated. [ABSTRACT FROM AUTHOR]

The selection of the creative Iraqi storyteller (Haitham Behnam Barada) came as a field of research for his collections of very short stories, which he called (suspended love / the second night after a thousand / the isolation of Enkidu / Tamahi / Ships and Caves) which he collected in one volume entitled (Complete Works: The very short story) which was printed by Dar Al-Now Publishers and Distributors / Amman / 2019 of coherent artistic techniques in which he worked hard to preserve the identity of the narrative text, as well as relying on sign, lighting, a quick glance and a visionary blow to express life experiences in society, so the mark formed a phenomenon Distinguished in his very short narrative works, through which he worked to uncover art and produce a new meaning within the communicative discourse between the narrator and the reader. The research was divided into an introduction and two sections . The first topic included through its study (types of time) in terms of natural time, which in turn was divided into (external / apparent) with its historical, cosmic and psychological (internal / internal) corner, while in the second section we devoted a study on (techniques Time) in terms of its types, retrieval and anticipation. [ABSTRACT FROM AUTHOR]

The French translation by Laure Hinckel of Mircea Cartarescu's last two books, the novel Solénoide and the collection of short stories Melancolia, have been enthusiastically welcomed by the francophone literary critics. In this dialogue Laure Hinkel develops on the practice of translation as a poietic of the interval. Tracing the on-going process of translation takes our approach further on, in the field of the politics of cross-cultural memory. [ABSTRACT FROM AUTHOR]

Black Canadian writer Wayde Compton's short story collection The Outer Harbour (2015) is located in the Afroperiphery of British Columbia which stands as a 'contact zone' that enables the alliances between Black and Indigenous peoples and also establishes a fecund ground of possibilities to emphasize the way in which crossethnic coalitions and representations reconsider imperial encounters previously ignored. The stories participate in the recent turn in Indigenous studies towards kinship and cross-ethnicity to map out the connected and shared itineraries of Black and Indigenous peoples and re-read Indigeneity in interaction. At the same time, the stories offer a fresh way to revisit Indigeneity in Canada through the collaborative lens and perspective of the Afroperipheral reality. In doing so, they contribute to calling attention to current cross-ethnic struggles for Indigenous rights and sovereignty in Canada that rely on kinship and ethnic alliances to keep on interrogating the shortcomings of the nation's multiculturalism. [ABSTRACT FROM AUTHOR]

In magic-realism literature, there are bonds between both the real world and the magical realm which appears to be closely interwined. This study aims to analyze the features of magic realism in Jasni Matlani's (2010) Laron, a collection of 30 short stories by Jasni Matlani. However, this article will only be analysing three short stories from the collection in Laron; 'Laron', 'Two Leaves', and 'Fragrant lady', and will only apply one feature-merging realms-from the five features of magic realism presented by Wendy B. Faris (2004). In Wendy B. Faris's book, Ordinary Enchantments Magical Realism and Remystifiction of Narratives, merging realms of the magic realism literature refer to the merging of two worlds which share a close bond. In order to analyze short stories containing elements of a merging realm, the study focused on the merging of the real world and the other world mentioned in the three short stories chosen for this study. According to the study, the article suggests that Jasni Matlani's short stories with the element of merging realms can be categorized as magic realism literature. [ABSTRACT FROM AUTHOR]

The article critiques the 1933 short story collection "Death in the Woods and Other Stories," by American novelist Sherwood Anderson. Topics discussed include the way the personal and professional changes experienced by Anderson which may have influenced the themes of his short stories, the effectiveness of the writing technique of Anderson, and brief details about the plots, characters, and settings of his short stories.

With Shift Mia Gallagher put together a collection of short stories which have been in the making for about thirty years. As many stories had been published separately in journals, they were given an overhaul to fit the new context: narrative perspectives were rewritten, layers added, so that the fifteen stories formed a new composition, variations on a theme. The collection forms a fugue building towards increasing weirdness, using faery tale techniques and magic realism to illustrate different shades of the uncanny. Emotions, originating in the protagonists' unconscious, in a family's past, whirl around yet are tightly structured. Gallagher's prose is physical but focusing on the in-between: people's perceptions shift, gender is fluid, objects metamorphose constantly. Her aesthetics are inspired by Baroque theatre, David Lynch and Francis Bacon. [ABSTRACT FROM AUTHOR]

In 1993 Clare Boylan edited a collection of essays by diverse writers on the act of writing entitled The Agony and the Ego. The Art and Strategy of Fiction Writing Explored. Here, Boylan takes the double stance of an outsider, as a critic, and of an insider, as a writer, and her concern with other writers' work highlights her own preoccupation with writing and creativity, thus providing an interesting insight into her own fiction too. Besides writing seven novels and three collections of short stories, Clare Boylan also produced personal, autobiographical and critical pieces in a variety of essays and newspaper articles. She also showed a rigorous stance as editor in the thorough and engaging Literary Companion to Cats (1994). In particular, Boylan's non-fiction work includes essays on Kate O'Brien and Molly Keane, as well as an introduction to Maeve Brennan's posthumous novella The Visitor. Her critical work shows rigorous attention to texts and imagery, but also patterns of affinities with the writers she takes into account. The purpose of this essay is to analyse samples of Clare Boylan's critical work vis-à-vis her own fiction. Significant cross-references can be identified which cast new perspectives on her literary work. [ABSTRACT FROM AUTHOR]

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.)

With the publication of his first collection of short stories (Smoke, 1962), Appelfeld is among the first to distance himself from the dominant Zionist narrative by giving voice to European Jews who are either unknowingly heading toward annihilation or struggling to recompose their shattered identity in the aftermath of the Shoah. In his extensive review of modern Hebrew fiction, Shaked works on the assumption that this corpus engages in a constant dialogue with the so-called Zionist meta-narrative, "the basic Zionist myth about the return to Eretz Israel as a redeeming process" (Holtzman 2008, 283). Following Shaked's interpretive model, this paper offers an analysis of character description in Appelfeld's works that reveals a hidden tension toward the dominant framework and the emergence of an alternative identity paradigm. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Algérie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In her collection of short stories, Intruders, Mohale Mashigo (2018) draws on popular culture as well as local cultural memories as invested in South African folktales, to conjure up a fantastical world in which spirituality is often invoked. In this article, I consider the way in which the visual image of a woman with angelic wings designed for the book cover by artist Shubnum Khan, serves the purpose of marketing the commodity by means of connotations presumed to be familiar to potential readers, but also still suggestive enough to stimulate, rather than prescribe, the visual imagination ignited in the process of reading. I link book cover designer Peter Mendelsund's argument that the reading imagination, although fuelled by memory, remains "loosely associative" and "not overtly coherent", with Ingvild Gilhus's cultural-historical appraisal of the angel's appeal as such a malleable symbol of (increasingly, specifically) female superhuman capabilities. I argue that the cover image 'works' because of its ability to kindle memories of precolonial African spirituality, associations with Christianity, as well as images circulating in mass media. [ABSTRACT FROM AUTHOR]

Copyright of Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci 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.)

Prospects of better living conditions attracted thousands of Irish emigrants to Argentina between 1830 and 1930. In a hopeful attempt to redefine their lives, the newcomers contributed to the formation of the identity and the progress of our country. Although they were far away from their homeland, most Irish-born people kept strong ties with their land and relatives back in Ireland. Tréboles del Sur (2014 [1994]) by contemporary Irish-Argentine writer Juan José Delaney is a collection of short stories which recount the life of Irish immigrants in Argentina and their descendants, ranging from the 1870s until 1983. This article aims at analyzing the representation of cultural aspects in those Irish immigrants. Stuart Hall’s concepts of representation, cultural identity and diasporic subjects, Raymond Williams’ concept of culture and the notion of cultural hybridity introduced by García Canclini are taken into account for the study. Our analysis is restricted to some of the fictional characters in Delaney’s work. The immigrants’ preservation of the links with their country of origin proves to be highly significant while forging bonds in a new environment. [ABSTRACT FROM AUTHOR]

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Gynocritics aims to understand women's writing, according to Elaine Showalter, an American literary critic, feminist, writer on cultural and social issues. She studied women as writers, especially stressing the requirement to approach feminist criticism from a cultural perspective. Showalter shows the difficulty of the task to define the unique style of women's writing. She performs historical research and finds the ways to learn something new and real about the women's relatedness to literary culture. Gynocritics, feminine language, and feminine experience are of a high importance when reading and analysing Inga Ābele, a contemporary Latvian writer. She has been awarded several national literature prizes and the Baltic Assembly Literature Prize in 2008. Some of Inga Ābele's stories are included in the prose anthology Best European Fiction 2010, published in the USA. Her short stories and novels have been translated into several languages and published abroad. Her writing style is marked by richness of language and human psychology. The writer delves into her heroines' souls and loves them as they are. Her prose contains passion for the Latvian household and Latvian rural scenery. The aim of this study is to regard Inga Ābele's short story collection Balta kleita (White Dress) (2020) from the perspective of feminist studies and gynocritics, bearing in mind the feminine voice, feminine body, and feminine silence in the given cultural background that is colourfully described in Inga Ābele's texts. All nine heroines of the stories are females sharing their experience and understanding of the world and emotions in which they are wrapped in everyday reality. The symbolism for Balta kleita lies within the colours of white and red, as the blossom of the cherry tree and saucy berries. White signifies innocence, whereas the colour red symbolises blood and revenge of the bleeding soul. Within each cherry there is a stone - strong as the heroine herself. Another metaphor used in the stories is a bird. All nine stories mention a bird's name. The birds are different, their songs are written with different sounds, but all are to be wounded on their dream to get free. [ABSTRACT FROM AUTHOR]

Richard Yates, most remembered for his Revolutionary Road (1961), was also the author of two fine and exceptionally well-crafted collections of short stories, Eleven Kinds of Loneliness (1963) and Liars in Love (1981). Yates was a writer of exceptional perception and unflinching clarity, yet some have criticized his work as drawing too heavily on autobiographical content. This article seeks to examine Yates' 1963 story "Builders" to gain insight into this extraordinary author's understanding of the writing process, his use of autobiographical or semi-autobiographical content, and to suggest new approaches for work on this still under-appreciated twentieth century author. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Europe is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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 prism of literary criticism considers the trinity of early, mature and late stages of the writer's artistic world and implies the idea of its evolutionary development. In Yu. V. Trifonov's works, the evolutionary transitions are associated with the strengthening of the autobiographical principle, which is determined by the forms of characters' 'life-living'. They include the process of parting with illusions and 'sensations of life' in the early period of Trifonov's writing, acceptance of the 'reality of life' in the mature one and the discovery of 'knowledge' in the late period. These processes ensured that Trifonov, who first invested his characters with selective autobiographical features, moved to the explicit autobiography in his last collection of short stories. The frank relations 'Me - world' established by the autobiographical hero of the short stories collection House Upside Down contribute to a radical change in Trifonov's poetics, including narrative laconism (instead of detailed novel descriptions), an all-encompassing intention of memory excavation, the derivation of axiological 'formulae of existence'. [ABSTRACT FROM AUTHOR]

Copyright of Plurentes 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.)

Copyright of Présence Francophone is the property of College of Holy Cross, Department of Modern Languages & Literatures 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 Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa 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 poem "The Confusion " by K. V. Dominic is presented. First Line: Too many literary theories. Too much knowledge ; Last Line: the true landscape stretches out with significance.

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

This article is a personal account of Gaëtan Brulotte's conception of literary creation as a Canadian francophone writer. Using his latest collection of short stories as his starting point, Brulotte takes the reader behind the scenes of the writing of La contagion du réel (2014), which received the Grand Prix de littérature Gérald-Godin in 2015. This account most notably reveals the sources of inspiration for the collection and certain aspects related to the origins of the stories. The author defines the meaning of the title by distinguishing between positive and negative contagion and between "Real" and "Reality," a point at the heart of his creative enterprise, whereby Reality is infinitely more variable than the Real. While adopting the point of view of the author, Brulotte also examines the main themes of his collection and underscores what literature means to him. Here, he also shares his experience as a writer of a literary genre that has its own aesthetic particularities. In a condensed version of his vision of creative writing, he finally touches on the importance that the narrative form and style holds in his writings and how, for him, this aspect is a vital force that shapes and gives style to our existence as a whole. [ABSTRACT FROM AUTHOR]

This article focuses on the latest collection of short stories by Gaëtan Brulotte entitled La contagion du réel (2014) and seeks to highlight the specificity of Brulotte's realistic aesthetic as well as his contribution to the continuing renewal of this literary genre. The originality of Brulotte's works resides in his "vision de biais" or his slanted, oblique, and parabolic vision, founded on the free manipulation of realism. This vision takes into account the complexity of human beings' rapport with the Real and is depicted in terms of construction and destruction, comic and tragic stories filled with love and violence, inspired by everyday situations and absurd ones which deal with both creation as well as death. The stories in La contagion du réel constitute in this way a brilliant exercise in the "manipulation" of realism. This analysis examines the multitude of approaches, both personal and oblique, used by Brulotte to tackle the question of the Real while taking into consideration the new forms and narrative techniques invented by the author. [ABSTRACT FROM AUTHOR]

This study investigates the intertextual use of Greek mythology in Agatha Christie's short stories Philomel Cottage, The Face of Helen, and The Oracle at Delphi, a short story collection The Labours of Hercules, and a novel, Nemesis. The results of this research based on the hermeneutical and comparative methods reveal that A. Christie's intertextual formula developed over time. In her early works, allusions were based on characters' appearances and functions as well as on the use of motifs and themes from Greek myths. Later on, she turned to using allusory character names; this would mislead her readers who thought they already knew the formula of her stories. Although not a postmodern writer, A. Christie enjoyed playing games of allusion with her readers. She wanted them not only to solve a case but also to discover and interpret the intertextual references. [ABSTRACT FROM AUTHOR]

Stephen J. Epstein is an Associate Professor in the School of Languages and Cultures at Victoria University of Wellington, where he directs the Asian Languages and Cultures Programme. He studied at Harvard and UC Berkeley in Classics and has published widely on contemporary Korean culture and society. Stephen has translated Korean and Indonesian fiction, including the novels Contradictions by Yang Gui-ja (Cornell University Press, 2005), Who Ate Up All the Shinga? by Park Wan-suh (Columbia University Press, 2009), The Long Road by Kim In-suk (MerwinAsia, 2010), and Telegram by Putu Wijaya (Lontar Foundation, 2011). More recently, he translated Intan Paramaditha's short story collection Apple and Knife which was published in 2018 by Brow Books in Australia and Harvill Secker in the UK. He has also translated Intan's choose-your-own-adventure novel, The Wandering, published by Harvill Secker/Penguin Random House in 2020, which received both a PEN Translates Award from English PEN and a PEN/Heim Translation Fund Grant from PEN America. This interview was conducted online by exchanging emails in August and September 2020. [ABSTRACT FROM AUTHOR]

The sovereign State system relies on the idea that all the territory of the world is divided into separate spaces, which are controlled by distinct sovereign governments that make and enforce laws in those territories (Agnew and Corbridge 1995; Jones 2012). In this fashion, Reece Jones claims that those individuals who defy the national demarcations through cross-border movement can be approached as resistant subjects who "disrupt the clean, territorially based identity categories of the State by evading State surveillance systems and creating alternative networks of connection outside State territoriality" (Jones 689). In this article, I will analyse the short story "The Smuggled Person's Tale" (2017), written by Jackie Kay and included in the short story collection Refugee Tales II (2017). This narrative portrays a literary voice of a refugee who, in the need for leaving Afghanistan because of political and social conflicts, defies the sovereign State system by avoiding territorial entrapment through a constant border-crossing. His journey across nations allows him to break the national borders' dichotomies (in-out / native-immigrant / citizen-exile) (Bhabha 1994; Rojas 2006; Jones 2012; Konrad 2015), thus achieving a nomadic consciousness and reclaiming his right to redefine himself as a global citizen. [ABSTRACT FROM AUTHOR]

: Science, technology, and the (futuristic and surreal) uses of them are undoubtably essential elements in Ballard’s writing. His scientific language is both very elaborate and refined. Sometimes, it attains a metafictional mode, while it allows for an accurate discourse on (New Wave) science fiction, art, and narration. In Vermilion Sands, a collection of short stories published in 1971, Ballard describes this overlit place as an exotic suburb of the mind, and of the future. In Vermilion Sands, trauma flowers, singing plants, non-aural music, sound jewelry, automated poetry machines, sonic sculptures, self-painting canvasses, psychotropic houses are the psychological drives in these macabre, grotesque, and strange psychodramas. In this paper, I will analyze how science and technology contribute to build neural landscapes through a metanarrative perspective in Vermilion Sands. [ABSTRACT FROM AUTHOR]

This paper will be concerned with the special affordances of periodical writing, taking the modernist little magazine The Masses as its example. This magazine was instrumentally involved in promoting sexual liberation and 'sex radicalism' in the United States of the 1910s, and I argue that the – contracted, serial, and contingent – structure of periodical publishing had an incisive impact on the ways in which the magazine responded to and transfigured the contemporary rhetoric of sexology. Focusing on the enactment of non-normative sexualities in the little magazine, I aim to show that the iterative and kaleidoscopic form of presentation yields effects that are different from the aesthetics of queer modernism as manifest in the 'closed' literary forms of the episodic novel or the short story collection. I will cast a close look at Floyd Dell's writing in the magazine to argue my case, and end with a reflection on (the publication history of) Sherwood Anderson's 'Hands'. [ABSTRACT FROM AUTHOR]