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Copyright of TESAM Academy Journal is the property of Tesam Academy 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 analyses three exemplary short stories of the Indian literary stalwart and activist Mahasweta Debi (1926 - 2016), to trace how literary dystopias can set aside their gentrified first world status and their usual connection with futuristic societies, to evolve with and accommodate the demands and realities of decolonial and postcolonial societies. Dystopias, especially literary dystopias, since their inception, have been one of the primary cultural forms that reflects in a creative way, the fear, disillusionment, and collapse of a world order and social structure while serving as a warning of an improbable probability. This article demonstrates that even though twentieth-century Bengali literature lacks genre specific nomenclature and analogous category of literary dystopias, however that in no way signifies a lack in such writings in the many vernacular languages, which is showcased through the reading of Debi’s Bengali short stories. It further exemplifies that even in a limited span of a short story, it is possible to capture the acute and poignant realities of decolonial societies: realities that blur the distinction between the present and the dystopian futurism. [ABSTRACT FROM AUTHOR]

In this article, the author considers novel as a theory of allegory. It mentions about the ontological formalism that eschews the historical materialism at the center of the new formalism. It also informs that the appearance of depth psychology was therefore a kind of MacGuffin and realism remained tied to typology and epigrammatic abstraction.

Critics have argued that The Lost World's blend of technical realism and escapism offered a semi-serious commentary on how imperial expansion, journalistic exposés, and photographic reproduction technologies could reinvigorate early twentieth-century readers' paling sense of the world's romance. Conan Doyle did not personally seek enchantment solely in fiction but was attracted to the multifarious term "romance," sensitive to the ways in which both fiction and scientific investigation could provoke a more profoundly wondering sense of the world's mysteries. This article argues that Conan Doyle's collaboration with illustrator Patrick Lewis Forbes provides an insight into the nature of the former's attraction to and repulsion from scientific knowledge. It makes substantial use of various archival sources that have received little or no scholarly attention, including the novel's draft manuscript and related correspondence at the Berg Collection of the New York Public Library, supplying important information about the construction of the novel. [ABSTRACT FROM AUTHOR]

The aim of this article is to reinterpret the style and rhetoric of Mati Unt's proseworks from the point of view of critique of various so-called everyday myths ("everyday mythology" also being the term title of Unt's late essay-collections). The critical praise in Unt's reception has revolved mostly around his unique ability to depict the most modern cultural trends, catchphrases and phenomena of his time. This talent of Unt has been explained by the author's deep interest in myths and Jungian psychoanalysis. I propose, however, that the key author to understand the specific equilibrium of realism and estrangement so characteristic of Unt's works, is Roland Barthes and his early book "Mythologies" (1957). Barthes' contemporary French consumer-society was saturated with mythical tropes, which he proceeded to deconstruct using the critical methods of semiotics. Barthes saw the stereotypes of his contemporary television and commercial world as sedating and affirming the status quo. Cultural clichés of various kinds were also crucial raw material for Unt's novels and short stories. He incorporated these materials into his works rather organically, thus achieving realistic effects, but often also overemphasised these tropes, coming close to estranging the reader. I attempt to show, through close-reading of two Unt's short novellas from his middle period -- "And if we are not dead, we shall be living on" (1973) and "Talking" (1984) -- how Unt constructed a realistic story-world, using various modern stereotypes, and later rewrote these stories. The article ends with a discussion of how my analysis may contribute to the debate about Unt's ambivalent place between modernism and postmodernism in Estonian literature. [ABSTRACT FROM AUTHOR]

Zheng Wenguang described the concept of "science fiction realism" in 1981 as a form of misreading, aiming at exploring social problems. Personally, he was rethinking and developing a series of his own writing ideas since the 1950s. As for the science fiction community, it was a powerful challenge to the idea that "science fiction is a part of popular science," which had existed for almost five decades. As soon as Zheng's idea was put forward, it quickly received a warm response from Jin Tao and Wei Yahua, etc. The works, such as "The Moonlight Island" (Yueguangdao) and "Destiny Nightclub" (Mingyun yezonghui), broke down the narrow boundaries of contemporary popular science discourse. "Science fiction realism" should be understood to mean "realistic science fiction." However, from a theoretical perspective, all kinds of writings in this period not only narrowed and vulgarized the understanding of "realism," especially as they ignored heated discussions of this concept, but also blurred the core and boundary of the "science fiction" genre and even dissolved its autonomy to a certain extent. Zheng and his proponents' explorations are Chinese science fiction authors' beneficial attempts to construct local traditions. They reflect a profound anxiety towards reality and a strong desire for self-identification among a generation of science fiction authors. The core point they observe reappears in various guises across the development of the science fiction genre in the following decades. The basic conceptions they are trying to convey have also become important resources for the development of Chinese science fiction literary theory. [ABSTRACT FROM AUTHOR]

This article examines the representation of waste and re-use in a selection of 'mad housewife' novels of the late 1960s and 1970s in an effort to redress feminist critics' assessments of the genre as historically important but of dubious literary worth. Focussing on Anne Richardson Roiphe's Up the Sandbox!, Sheila Ballantyne's Norma Jean the Termite Queen, and Alix Kates Schulman's Memoirs of an Ex Prom-Queen, I argue that the novels in this genre enact their protagonists' departure from convention through the adoption of a fluid, collagistic structure that moves between temporal modes, narrative perspectives, and reality and fantasy, and through their incorporation of a range of external media (newspaper excerpts, recipes, advertising slogans) that 'mess up' the tidy structure of the popular realist novels that they seem, at first glance, to emulate. In their relentless attention to literal and figurative waste matter, and through the use of literary devices that defeat the attempt to bind the story within a linear narrative, Roiphe, Ballantyne, and Schulman create a carnivalesque disorder of both their protagonists' homes and the novel form. In examining these ideas, I seek to complicate existing accounts of waste in literature, including my own, and of 1960s and 70s countercultural writing, both of which remain heavily focused on writing by male authors. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Mexique 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 this article the author examines aspects of "Middlemarch," a 19th century novel by the British writer George Eliot. In the author's opinion "Middlemarch" seeks to document failure, weariness and the limits of possibilities. The central focus of the article is on "Middlemarch," Eliot, and the expression of literary and psychological realism. A number of topics are addressed including Eliot's aesthetic and ethical positions, realism and sympathy, and the degree to which sympathy can be limited.

This article examines aspects of "Out of Work" by Margaret Harkness, a 19th century British writer. The author asserts that in the writing of the book Harkness rejected the criticism leveled at her earlier work "A City Girl: A Realistic Story" by Friedrich Engels, a political philosopher. Engels reproved Harkness for sentimentality despite the author's stated realism. A number of subjects are addressed including Harkness' development of a socialist aesthetic in her work, realism, sentimentality and melodrama, and homelessness as a symbolic device.

This article resurrects the literary source of the phrase banana republic : O. Henry's only novel, Cabbages and Kings (1904), which was inspired by his experiences in Honduras after fleeing from charges of embezzlement. Set in a fictitious country called Anchuria, the narrative grew out of two short stories titled "Money Maze" and "The Phonograph and the Graft." O. Henry is seldom considered in discussions of US realism at the turn of the twentieth century; nevertheless, I argue that Cabbages and Kings parodically deploys a mode of "banana republic realism" that sheds light on the role of media technologies in the processes of imperial expansion and financialization. Given Lisa Gitelman's claim that media are "integral to a sense of what representation itself is ," how do the ties between media and money impinge on the claims of realism—especially in enclave economies where the same corporation cultivating the export commodity might also control currency and communication technologies? With an eye to debates about realism in our own era of cryptocurrencies and algorithmic trading, the article points to the banana republic as a privileged site for understanding what happens to realist representation at moments when media become increasingly integral to the economy. [ABSTRACT FROM AUTHOR]

Known for defying the conventions of the realist novel, César Aira's texts are characterized by their strangeness and particularity, with regard to both content and form. This essay approaches this dimension of Aira's narrative work by studying the influence of the visual arts on his writing. It situates Aira's work in the context of contemporary Latin American literature but also traverses the Atlantic, and various time periods, to consider his work's dialogue with the historical avant-gardes. Examining the influence of artists who appear in his texts, such as Escher and Duchamp, but also the presence of more subtle concepts that motivated the work of avantgarde artists, such as the fourth dimension and non-Euclidean geometry, I argue that through the influence of the visual arts in his texts, Aira questions our conceptions of the novel, literature and art, proposing new forms of narrating, representing complex topics, and interacting with readers. [ABSTRACT FROM AUTHOR]

This paper argues that the field of comparative literature stands to be reinvigorated by attention to two pressing questions. The first: what would a genuinely literary comparison of texts look like? And second: what would such a literary reading of diverse texts tell us about the grounds on which one undertakes a genuinely world-scale comparison, rather than one divided into "Europe and its others," or into the supposedly unrelated colonized regions of Africa and Asia? I answer these questions through the literary topography of the historical novel, which opens up a scope for world-scale comparison because of how multiple novels capture the moment of a region's entry into the modern world system. Together these novels provide a literary account of the entry of multiple colonized regions into capitalist time-space. I argue that the form of the historical novel, in particular its allegorical analytical realism, is central rather than incidental to this representation of capitalist expansion through two very different historical novels: C. S. Nyembezi's The Rich Man of Pietermaritzburg (1961), set in rural Zululand, South Africa, and Amitav Ghosh's The Sea of Poppies (2008), set in the region of the Indian Ocean. [ABSTRACT FROM AUTHOR]

The article explores the literary genre of "Evangelical fiction," marketed through the Christian Retailers’ Association, including several works by Ted Dekker such as "The Slumber of Christianity: Awakening a Passion for Heaven on Earth," "Black," and the "Paradise Trilogy" of novels "Showdown," "Saint," and "Sinner." It explores the history of American Evangelical fiction, the use of The Fantastic in such works, and literary realism.

Emancipada is the first Ecuadorian novel and one of the first Latin American in the subgenre of literary realism, however, it goes unnoticed for the university debate two centuries after the birth of its author Miguel Riofrío. By the contribution of this work, more than a century and a half later, it can be demonstrated, from the critical theory to which it precedes by far, that in this one you can find greater and better vestiges of denunciation for the dignity of people, Human rights and the right to resistance. This work is divided into five parts. In the first one, the writing of the work analyzed in its historical moment and according to the author's social environment will be contextualized. In the second part we will study the discursive environment of ideas in La Emancipada and the author's thinking in the context of his narrative. In the third part, resistance and disobedience will be analyzed as categories of study in the environment of the social and creative process of the work. In the fourth part, he will evaluate the influence of the mother figure of the protagonist of the story according to the categories anticipated in the previous section. The last part is dedicated to establishing conclusions. [ABSTRACT FROM AUTHOR]

Near the turn of the twentieth century, William Dean Howells, the most fervent promoter of literary realism in America, serialized a romance trilogy, the Altrurian romances. Since they so conspicuously conflict with Howells's other novels and his many programmatic statements about the value of literary realism, these anomalous tales have continued to pose a problem for critics. In contrast to past interpretations of the romances—which either try to explain away their differences or argue that Howells lost faith in realism—this essay contends that the romances constitute a strategic move on Howells's part to support the cause of realism in the midst of "the romance revival" afoot in both the U.S. and England. [ABSTRACT FROM AUTHOR]

In the final chapter of his not-quite-autobiography, Il sistema periodico, Primo Levi claims that the work “È, o avrebbe voluto essere, una microstoria” (229), the implications of which are vast. According to Carlo Ginzburg, it is in this passage that “the word microstoria appears in Italian for the first time in an autonomous manner” (“Microhistory: Two or Three Things That I Know about It” 15). This article explores the microhistorical tenets manifest in Levi’s writing, the history of the term itself, and Italian microhistory’s ostensible ties to Italian neorealism. Indeed, the composition of Il sistema periodico represents an important moment in the progression of popular and scholarly representations of alterity, re-contextualizing Levi in a milieu of partisans and survivors keen on rewriting history. [ABSTRACT FROM AUTHOR]

Current literary criticism claims that there was a shift at the beginning of the nineteenth century toward intellectual, rational reading and away from the emotional, affective reading encouraged by popular eighteenth-century genres such as gothic fiction and novels of sensibility. Frances Burney and Maria Edgeworth are often identified as vanguards of this change, paving the way for nineteenth-century realism. By examining Camilla (1796) and Belinda (1801), I will challenge this genre-based chronology of the novel's development by arguing that Burney and Edgeworth valued reading with feeling and that their positive representations of affective reading have shaped the rise of the novel and the reader-text relationship. [ABSTRACT FROM AUTHOR]

The article discusses how "body is the soul" is a new mantra of the Millennium market in India. Topics discussed include global flavor or character in Indian books that are product worthy of the global readership; ways in which Indian novel today, largely influenced by Salman Rushdie's magic realism; and Indian metaphysical vision communicated in a language which is austere and simple.

Benito Pérez Galdós is considered the best author of all Spanish literature after Cervantes, and he has been recognized as the best writer of the 19th century. Galdós's novels are analyses of social trends and problems that lay at the heart of nineteenth-century civilization. In Torquemada en la hoguera, Galdós reveals the usurer's inability to comprehend reality, to rise over lust and greed. Torquemada embodies the materialist core and the monetary soul of a vital philosophy from the Spanish merchant class of that century. [ABSTRACT FROM AUTHOR]

Kōda Rohan (1867-1947) is considered an "antimodern" novelist who spurned experiments in the 1880s to forge a literature of realism in a vernacular register (genbun itchi). I argue, to the contrary, that Rohan sought a modern prose that could effect realism in a nonvernacular register, gazoku setchu tai. In his novel Furyubutsu (The bodhisattva of elegance, 1889), Rohan requests the aid of a "genbun itchi practitioner" to frame his gazoku realism as working across the unstable literary categories of interiority and exteriority whose emergence had been facilitated by vernacular prose in portions of Futabatei Shimei's (1864-1909) novel Ukigumo (Drifting clouds, 1887-89). [ABSTRACT FROM AUTHOR]

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez 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 probes into the inner recess of an individual who is forced to become a murderer by chance. The protagonist Raskolnikov is tormented by his deed and guilt bursts like a volcano. When he confesses his crime, he gains a new life. The descriptions of inner emotions are psychologically realistic and true. The guilt-ridden mind of the criminal, experiences mental torture. This deed drags him to the edge of madness. His tormented inner conscience forces him to confess his crime. Sonya appears as an angel in his life and offers him the cross. This provides him the strength to confess his crime and leads him to redemption. He becomes a new man with budding hopes and moves from one world to another. [ABSTRACT FROM AUTHOR]

Vijay Tendulkaris knownforhis writings that are true to life. Ghasiram Kotwal, a play in Marathi that deals with multiple themes such theme of avenge, the political system of India, and alike. Yet, a different underlying aspect is also mvealed in the drama, theme of Realism and deterioration in the position of woman. This paperdeals with the meaning of Real is mandits implication on drama, Ghasiram Kotwal The paper deals with various pivblems like object ijication, subjugation and repiession that are political, economic andsocialin the lifeofa woman with Realism asthe centre of interpretation. [ABSTRACT FROM AUTHOR]

Vikram Chandra's Sacred Games (2006) is a lofty- 900-page literary showpiece that explores, with a devastating realism, themilieu of thebustling "cityofdreams"- Bombay. Partly Dickensian and partly The Godfather in its purview, the bookchmnicles the story ofthe city's criminal mastermind and a lacklustre policeman, set against the backdrop of the glamour of Bollywood and the tension oflndo-Pak violence. The paper will, however, attempt to examine as to how this social novel is mow than just a crime saga or detective thriller by also candidly conjuring the vulgarity - both physical and psychological - of Bombay's crowded and impoverished population as the Zeitgeist. Given the fact that the novelprobes into religious polarisation, corruption, prejudice, and pofiticala pathy while paintinga not-so-pretty picture of the Indian society, it becomes imperativetoalsoexplorehowitt engageswithprecarious living in a fragile environment with the spectre of nuclear ter/vrism looming large and the heart-wrenching violence of the 1947 Partition behind us. The manner in which Chandra works out the complex political and social anxieties, thatweasa nation have been experienc ingsincethe '90s, is worthy of critical attention. [ABSTRACT FROM AUTHOR]

A literary criticism of the book “So I Am Glad” by Alison Louise Kennedy is presented. Topics include Kennedy's writing style as well as the skillful juxtaposition of realism and the fantasy and the surreal; wining of the 2007 Costa Book Award for "Day" by her; and fragmentariness and plural identities of the dominant aspects of the Scottish post-Union culture. An overview of the story is also given.

This paper is an appraisal of how Bernard Shaw, as an intellectualist, being religious in the board sense, formulated a personal philosophy of creative evolution based on secular theories and how Shaw focused on social, democratic and personal problems in his early plays and later he introduced themes such as religion, youth and age, labour and capital, etc. After a deep analysis of all his plays, this paper explains or depicts how Shaw was a practical mystic who saw no remedy in economic socialism or anything else other than developing ones spiritual life. [ABSTRACT FROM AUTHOR]

This paper contends that contemporary representations of violence are profoundly shaped by two interconnected elements: realism and the influence of the media. For the most part, Fernando Vallejo's work has been classified and analyzed in terms of realism. In my view, however, it also contains a radical criticism of today's realisms, their links to the media, and their treatment of violent events. While many current portrayals of violence depend on a consensus regarding realistic and objective images of our world, Vallejo refuses to participate in any form of representation based on consensus. In order to discuss Vallejo's critique of contemporary depictions of violence, I focus on his novel La virgen de los sicarios and two of its defining elements: its first-person narrator and its frontal attacks on the media. I also analyze his unorthodox portrayal of violent realities with the help of two theoretical concepts: Walter Benjamin's information and Slavoj Žižek's subjective violence. [ABSTRACT FROM AUTHOR]

Interdisciplinary in scope, this article takes up the 1950 short story, "Ko Danga," by Burmese author Kyay Ni, as a critical lens through which to approach the contemporary political economy of Myanmar's inland fisheries. Due to its level of ethnographic detail, Kyay Ni's account of the inland fisheries regime in early postcolonial Burma provides an effective historic baseline against which to assess more recent developments in this sector - developments outlined herein based on interviews and research trips to inland fishery locations in Myanmar's Ayeyarwady Region. Going further, the article argues that Kyay Ni's writing offers heterodox insights into contemporary political economic concerns, of relevance in Myanmar and more broadly. [ABSTRACT FROM AUTHOR]

Copyright of Universum is the property of Instituto de Estudios Humanisticos Juan Ignacio Molina, Universidad de Talca 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.)

Focuses on Sam Shepard's suggestion of the constitution of `realism' in the postmodern text in his play `Fool for Love.' Realism as an illusion of a blank space inscribed with the already written; Metatheatrical aspects of the play.

I discuss the characters Don Quixote and Sancho Panza and their relationship in order to understand better the place of idealistic theory and realistic practice in business ethics. The realism of Sancho Panza is required to make the idealism of Don Quixote effective. Indeed, the interaction and development of these characters can serve as a model for both the effective communication between and blending of the idealistic moral theoretician and the practical businessperson. Specifically, I argue that a quixotified Sancho Panza, as a combination of theoretical idealism and practical realism, is necessary for managerial statesmanship. I first consider the position that this concept is unrealistic, in the final section, however, I show that a number of leadership and business theorists believe that managerial statesmanship requires a quixotified Sancho Panza. I also consider the question, what helps to make a quixotic vision for business ethical, and what is its content? [ABSTRACT FROM AUTHOR]

"My books care to offer a space in which children can experience moments of safety within a world that is just coming into being, a world that invites them to think for themselves and to change it—if they wish to do so." [ABSTRACT FROM AUTHOR]