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Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari 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 article is dedicated to studying the evolution of the Gothic novel in English-language literature from the 18th century to the modern stage of development through the lens of genre transformations and stylistic modifications. The purpose of the article is to study the peculiarities of the Gothic novel genre in English-language literature through the prism of genre transformations, the dialectic of tradition and innovation. The research was conducted on the basis of the complex application of the method of analysis and synthesis, comparative-typological, biographical, historical-genetic methods and the method of generalization. By conducting a typological comparison of the early Gothic novel, represented in the works of Horace Walpole, Mary Shelley, Ann Radcliffe, and the later Gothic novels of Oscar Wilde, Bram Stoker, and Stephen King, it was found that the peculiarity of mature Gothic novels compared to early ones is authorial subjectivity, vivid imagery, and picturesque quality, which eventually evolves into a fascination with supernatural phenomena and horrors. The figurative and symbolic system of the Gothic novel also evolves, as demons and the deceased are replaced by the innocent image of a child or woman, erasing the gender boundaries of the villain hero as the primary catalyst of the plot. [ABSTRACT FROM AUTHOR]

The article discusses the significance of perspective in post-migrant societies and its influence on the narrative art of the novel. It argues that perspective is used as a metaphor to depict both future social relations and standpoint-dependent perspectives. The connection between novel theory and post-migrant theory is examined to shed light on the prerequisites for a post-migrant societal novel. The article also raises the question of whether the novel, as a literary form, is still relevant and whether the narrative art of perspective can adequately represent today's social relations. The phenomenological analysis of visual perception is considered as the basis for literary illusion formation. The text deals with the concepts of perspective and pluralism in the philosophy of Gottfried Wilhelm Leibniz and the phenomenology of Edmund Husserl. Leibniz uses the concept of perspective to explain the diversity of individual perceptions and standpoints. Husserl develops the concept of intersubjective experience, in which the experience of an object is accessible to another subject. Both philosophers attempt to find unity in the diversity of perceptions. The text emphasizes the importance of these concepts for literary theory and points out the ethical and political implications. The text discusses the relationship between perspectivism and identity politics. It emphasizes that the older theory of the novel has been influenced by this development. The idea of attributing perspectives to groups was already formulated in the 19th century. These perspectives are considered politically and philosophically explosive and have great significance in the Marxist tradition. The text suggests that a revised concept of "agonistic perspectivism" could be able to meet current societal challenges. It is emphasized that antagonistic conflicts between incommensurable views must be taken into account. The text discusses standpoint theory and its application in various social movements. Georg Lukács argues that the standpoint of the proletariat enables superior insight into capitalist society. Later, the feminist movement further developed standpoint theory and emphasized the importance of the perspective of oppressed groups. Standpoint theory has also been discussed in postcolonial criticism, taking into account the privileges of Western positioning. The idea of "strong objectivity" aims to start from different standpoints in order to obtain a comprehensive picture of reality. Frederic Jameson calls for applying standpoint theory to literature as well and considering different perspectives. The category of totality plays a central role in standpoint theory and literary theory. The text discusses the possibilities of the novel to depict group-specific experiences in post-migrant society. It is noted that a politics of specific individual topics should be avoided and instead, a connection of these topics should be sought. The challenges associated with the project of literary collectivization of marginalized perspectives are also pointed out. It is emphasized that an antagonistic narrative art of perspective poses a major challenge in novel literature and that the question of whether the novel can represent radical plurality must include the author's standpoint. The text deals with the positioning of authors of novel literature in society. Whether or not [Extracted from the article]

The beginning and the development course of the novel genre in Turkish literature has been with an external influence. It is possible to talk about the continuation of the foreign influence in the emergence of original works after this first stage, which is described as translation, imitation and copyright. With the reflection of the idea of nationalization that started with the period of national literature and accelerated in the Republic period, the people of Anatolia and Anatolia started to enter the novel as a subject and place. However, despite all these movements of nationalization, various opinions regarding the insufficient presence of Islamic elements in the novels are also an opinion expressed. Based on this point, our work will be about Ahmet Gunbay Yildiz, who is evaluated within the framework of the concepts of an Islamic novel, A Hidayat novel, and a popular novel. He also states that Yildiz has entered the path of becoming the representative of Islamic literature in the field of novels with his adventure of transition from poetry to novel. Yıldız is in the first ring with Hekimoğlu Ismail and Şule Yüksel Şenler among the Hidayet novelists. Our study included discussions on the concept of Islamic literature, thoughts on the Hidayat novel and the classification of popular novels, and assessments of Ahmed Gunbay Yildiz's place in these classifications. As a result of these evaluations, it was determined that the author's works contained elements of the Hidayat novel and popular novel. Thus, it was concluded that Yıldız wrote his novels in the popular Islamic novel category without paying much attention to the literary and aesthetic features. [ABSTRACT FROM AUTHOR]

Dystopian fiction is a discursive genre made up of cultural products (literary texts, movies, series) aimed at producing a particular type of effects of sense in the model reader: ideally, in consuming them, readers will be capable of conducting a critical evaluation of their socio-political circumstances. Thus, dystopian fiction - which is a fictional discourse - aims at being the source of socio-political change through the intervention in the discursive sphere of the non-fictional. This article approaches the genre of dystopian fiction in literature from a semiotic perspective. Specifically, it focuses on studying the type of imagination and construction of possible worlds that define it. The thesis it presents is that dystopian fiction is characterised by a construction of futures that are plausible, that is, that have an anchorage in reality as it is and are therefore viable, unlike what happens in science fiction. [ABSTRACT FROM AUTHOR]

Copyright of Studia Litteraria Universitatis Iagellonicae is the property of Jagiellonian University Press 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 Araucaria is the property of Araucaria-Revista Iberoamericana de Filosofia, Politica y Humanidades 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 Communication & Culture Online / Komunikacija i Kultura Online is the property of FOKUS: Forum za Interkulturnu Komunikaciju and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims an approach to some of the most solid assumptions of Literary Theory considering the critique of Michel Foucault and, in lesser extent, that of Roland Barthes and Jacques Derrida. Some of those assumptions include literary criticism in its traditional way, the role of the authorship in literature and the literature itself as an institutional device set up to claim upon the value of the literary discourses. In order to develop Foucault's arguments we undertake a reading of some "minor writings" corresponding to "the first Foucault" in the sixties' decade-keynotes, interviews, journal articles and so on-although we are mostly based on two or three unpublished documents on literature topics from the Michel Foucault Archives located at the Institut Mémoires de l'Édition Contemporaine, in Caen, France. [ABSTRACT FROM AUTHOR]

This study aims to focus on the concepts of science, technology, and apocalypse in dystopian novels. Dystopian fiction has lately become an important literary genre within speculative fiction in English and Contemporary World Literature. It is not possible to think of dystopian fiction apart from the utopian tradition, which has a long oral and written history. Therefore, In this study, after focusing on the similarities and differences of dystopian and utopian fiction, Mary Shelley's Frankenstein and Aldous Huxley's Brave New World, both of which contributed to the development of dystopian fiction as a subgenre of science fiction, will be discussed separately. Actually, it will be argued not only how both authors deal with science, technology, and apocalyptic elements in their novels but also how they criticize their own societies through the dystopian vision of these works. Moreover, the societies depicted by Shelley and Huxley will be debated to demonstrate the visible or invisible ties to the 'authority', which is thought to be the potential perpetrator of the feelings of fear, suffering and helplessness that permeate the societies. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet Ilahiyat Dergisi / Cumhuriyet Theology Journal is the property of Cumhuriyet Universitesi, Ilahiyat Fakultesi / Cumhuriyet University, Faculty of Theology 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.)

Richardson's taxonomy here follows Ana Parejo Vadillo's work in considering Michael Field's verse dramas - of which they published dozens - alongside Michael Field's more canonical lyric work. "With their verse dramas, sonnets, and neo-renaissance songs", Richardson writes, "Michael Field is participating in a culture-wide appropriation of old forms for new uses" (17). In their published poetry and verse drama, Michael Field are formally innovative and experimental, as Richardson and previous critics have argued. [Extracted from the article]

Having its first examples in Modern Egyptian Litterature at the beginning of 20th century, “novel” has evolved in the midst of the same century thanks to several writers’ works, especially Naguib Mahfouz’s, which are affected by their country’s facts. Driven by the political and social conditions that were ruling Western literature, dynamism in national literature influenced the novel genre and Mahfouz created pieces of literature in forms of historical realism and symbolism throughout this period. After the “Free Officers Movement” revolution, which failed to fulfill Mahfouz’s hopes to be a solution to the country’s problems, he stopped writing for a period of time. However, it is possible to see traces of the philosophical education he received in his post-revolution novels Despite the dynamism in social life that stem from reforms made after the revolution, the ongoing problem of political power and democracy remained as the main theme of his novels written at that time. This study aims to review the writer’s novel Melhemetu’l-Harâfîş, which was published in 1977, on existential grounds and thus present the meaning it attributes to political power, justice and life. In this study we described philosophical thought generating existentialism in litterature, and examined the novel in that aspect after explaining the main principles. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi is the property of University of Cumhuriyet, Faculty of Sciences & Arts 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 the Institute of Social Sciences Cankiri Karatekin University / Çankırı Karatekin Üniversitesi Sosyal Bilimler Enstitüsü Dergisi is the property of Cankiri Karatekin University, Institute of Social 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.)

Familiarity with various branches of literature, especially fictional literature, has been an appropriate setting for cultural and social change. Since fictional literature and characterization are one of the most interesting and important areas in the field of fictional research, and basically a story without character is not conceivable, this article examines personality in the first three volumes of the novel Smoke-free Fire Ibrahimi and such things as personal descriptions (Direct and indirect), simple and comprehensive, the social class, the motive of the characters in our actions. In general, Ibrahim can be highly successful in characterizing his prose. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Turkish Educational Sciences is the property of Journal of Turkish Educational 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.)

There have been major changes in the Ottoman Empire's social life due to the effect of Westernization/modernization attempts that started with Tanzimat and the influence of newspapers and magazines supporting this initiative. The topic of woman, the role of woman and the perception of woman in society that have gained a different dimension with the Republic started to change for the first time in this period. In parallel with the Westernization/modernization attempts, ever-increasing freedom in female-male relations, the change in family life and house layout have become the topics of Turkish narrative (story and novel) beginning from Tanzimat. Ahmet Mithat Efendi, who has a significant role in the settlement of novel in Turkish literature as a genre, often included in his novels the negativities of superficial modernization in social life (conflicts and absurdity, artificial and parvenu characters etc.) and their everyday reflections. His novel Vah, published in 1882, deals with moral degeneration that emerged as a result of false Westernization in the context of male-female relations by focusing on a female protagonist. In this article, the woman-centered change in the Turkish novel will be evaluated in the example of Ahmet Mithat Efendi's novel "Vah" (such as case, person, time, space and narrator) in the axis of westernization/modernization. The topics such as the approach to woman, the handling of woman issues, values and definitions for woman will be examined from through feminist literary criticism. [ABSTRACT FROM AUTHOR]

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

The author responds to the reply of Bärbel Höttges of his essay on spoken letters and written sounds. He notes that insistence of Höttges that religious practices can be understood as the hybridizations of African and Christian elements. However, he is not convinced that the interplay between literacy and orality in the novel "Beloved," by Toni Morrison is an example of hybridity. He clarifies that the reproduction of stylistic orality features in a written context is not the main issue. He suggests readers to go along with the account of Morrison.

Literature reflects human behavior and depicts the natural surroundings in which it is penned. It is believed that the environment occupies a big deal of description in various forms of literature viz. novels, short stories, biographies, autobiographies, dramas, prose, poetry, etc. as it is the part and parcel of human life. The present research paper attempts to investigate ecocriticism in the poetry of Shaikh Ayaz, a major voice of the 20th Century Sindhi poetry. Ecocriticism is described as the study natural world. It shows a cemented relationship between literature and the environment. It is observed that no writer is ever detached from his environs. Likewise Shaikh Ayaz has portrayed natural surroundings, in his poems, artistically and aesthetically. The method of textual analysis has been used to carry out the current study. The findings exhibit that Shaikh Ayaz has employed an ample use of ecocriticism to make his poetry rich with natural beauty and the depiction of landscapes. [ABSTRACT FROM AUTHOR]

An essay is presented on the textual history of "L'Advocacie Nostre Dame" including the problems of dating, authorship and genre. It offers an outline of the two primary aspects of its cultural context which made its composition possible including the medieval cult of the Virgin Mary and the Basoche that had its genesis in early 14th century in France. It notes that most of the text is cast as a confrontation between Satan and the Virgin Mary, wherein the former assumes the role of prosecutor.