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Narrative has long been central to the study of literature about illness, but we err if we assume that memoir and fiction alone depict the embodied experience of physical suffering. Contemporary writers also turn to the essay. In French, essayer means to attempt, and writing essays requires facing difficult questions and predicaments, confronting uncertainty and the unknown. Among recent literary essays, many are about women in pain. These include Eula Biss's "The Pain Scale" (2005) and Leslie Jamison's "Grand Unified Theory of Female Pain" (2014). Each of these writers asks: How, when, and why do we suffer? Why is women's pain so often diminished, dismissed, and misunderstood? And why, in response to the suffering of others, do we regularly fail to provide what is needed? [ABSTRACT FROM AUTHOR]

"Small Spaces: Recasting the Architecture of Empire" by Swati Chattopadhyay is a book that explores the overlooked aspects of colonial architecture. The author focuses on the "small spaces" that were adjacent to or connected to larger imperial buildings, such as warehouses, storage spaces, cook houses, and verandas. These spaces were occupied by servants, women, and children, who played essential roles in the everyday functioning of the empire but were often overlooked in historical records. The book examines how these spaces were used and how they facilitated connections between different races, classes, sexes, and ages. The author also discusses the complexities of power and surveillance in spaces like the veranda. While the book primarily focuses on British India, it also makes connections to other European colonies. [Extracted from the article]

This article is a book review of "Joel Schwartz, Robert Brown and Mungo Park: Travels and Explorations in Natural History for the Royal Society." The book explores the lives and contributions of Robert Brown and Mungo Park, who were both from southern Scotland and influenced by the ideas of the Scottish Enlightenment. They were selected for expeditions by Joseph Banks and were part of the quest for new plant species that could benefit the British Empire. The review highlights their expeditions, plant collections, and scientific discoveries, with a focus on Brown's meticulous methods and his role in caring for Joseph Banks' collection. The review acknowledges the limitations of the book, such as the lack of information on the relationship between Brown and the artist Ferdinand Bauer, as well as limited material on the interactions of both Park and Brown with Indigenous people. Overall, the review praises the book for shedding light on these overlooked figures in the history of botany. [Extracted from the article]

The article presents a literary criticism of the book "Central Park Love Song: Wandering beneath the Heaventrees," by Stephen Wolf. Topics include the philosophy of establishing a personal identity, the use of New York City's Central Park as environmental history and urban geography, and the book's hybrid genre of memoir and creative nonfiction.

Margaret Cavendish and Lucy Hutchinson used similar generic strategies, borrowed from the mid-century petition, when composing biographies of their husbands, The Life of William Cavendish and Memoirs of the Life of Colonel Hutchinson. While both authors use their prefaces to frame their biographies as dispassionate recitations of historical fact, rather than defending a purely documentary regime, such pronouncements obliquely prompt readers to search for deviations from the authors' biographic agendas. This essay will argue that Cavendish and Hutchinson used the biographies of their husbands to disguise and promote political critiques that ultimately reveal the autocratic impulses of Charles II in the early years of the Restoration. Such critiques, I propose, are grounded in the complementary self-presentations of the authors. Informed by their common experience as petitioners of unfriendly bureaucracies, Cavendish and Hutchinson style themselves as advocates for constitutional monarchy and particularly the preservation of rights and privileges due to English citizens. Finally, by examining the intersection of biography and autobiography, petition and legal testimony, this essay challenges the scholarly tendency to assign highly gendered critical frameworks to Memoirs and Life of William , which are more likely to be described as wifely romances than as political treatises. [L.D.F.] [ABSTRACT FROM AUTHOR]

Margaret Cavendish's and Lucy Hutchinson's sartorial presentations have often been regarded as largely apolitical: Cavendish's a part of her eccentric public persona, and Hutchinson's a badge of puritanism and wifely sobriety. This essay argues instead that Cavendish and Hutchinson deploy politically charged (and surprisingly comparable) rhetorics of dress in their writings, both harnessing the power of fashionable singularity to express intra-party dissent. Examining two of Cavendish's plays, A Piece of a Play and A Comedy of the Apocriphal Ladies , and Hutchinson's biography of her husband, Memoirs of the Life of Colonel Hutchinson , this analysis shows how both writers push back against a politic of modish copying as expressed by writers such as John Evelyn, whose Tyrannus imagines standardized fashion as a way to underscore the power of bureaucratic gentry regulators after the Restoration. Analyzing the ways that Hutchinson and Cavendish both harness discordant dress as a form of political critique (albeit to disparate political ends) reveals how powerful rhetorics of dress travelled across seventeenth-century political divides, and helps push our understanding of the sartorial sensibilities of both writers beyond the frameworks of austere puritan wife or extravagant dresser. [K.L.] [ABSTRACT FROM AUTHOR]

French astrophysicist Jean-Claude Pecker, who passed away in early 2020, left behind a rich body of work that reflects his active engagement with areas beyond the scientific, among them the visual arts, social activism, and poetry. This paper follows Pecker as he grapples with the loss of his parents in the Holocaust and articulates the impact of this loss on his life and work. My discussion draws primarily on Pecker's poetry collections Galets poétiques and Lamento 1944-1994, with occasional references to other writings, among them a provisional draft of the opening chapter from Pecker's memoir and letters recounting his family history. Allusions to Pecker's Jewish heritage are absent from the poetry collections yet are prominently present in other writings in the context of antisemitism as the core of his "feeling Jewish" on the one hand and the rejection of Judaism among all other religions on the other. Reflecting on the violence that afflicted his life during the war years and admitting his deep pessimism regarding the future of both humanity and the environment, the elderly Pecker conveys in his writings a sense of diminished agency both in his own life and in that of the sun, the celestial body broadly considered a mainstay of his scientific work. Contextualizing Pecker among his peers, I suggest that while the themes of deportation and death figure centrally in the poems, Pecker is less in conversation with Holocaust poetry or poets and more in dialogue with a group of French artist-friends, united in the knowledge of nature's timeless beauty and in the recognition of the presence within humanity of love, friendship, and the unlimited capacity for inflicting harm and great pain. [ABSTRACT FROM AUTHOR]

The present paper focuses on how memory plays an important role in reconstructing the narrative of partition that emerges from personal histories of individual experiences and family units. As the generations are passing away, the people who experienced partition first-hand are on the verge of disappearance. What remains is second-hand information from the younger generations who are the storehouses of the experiences, stories and tales narrated to them by their parents and grandparents. Largely, a sense of amnesia, forgetting and erasure challenges the articulation of these experiences. As a third-person narrator, belonging to one such family, the researcher has made an attempt to document her family history. The paper lays focus on revival and re-membering the family eidos that reveals the veil of forgotten or hidden histories. One of the motives is also to recapture the momentous moments that defined the life of the people who left their homes and moved to other parts of the country. Remembering has been considered as a methodological tool to understand partition from the common people's perspective and create alternate history that examines the official accounts and their authenticity regarding partition. The fragmented memories have enabled writers to engage with literary forms that narrativises partition through short stories, novels and others forms of writing. The paper also discusses the challenges and limitations of fragmented memories and the complications involved in the creative process while engaging with real life experiences and fiction. [ABSTRACT FROM AUTHOR]

Providing the first sustained scholarly analysis of the Black nanny figure in Alexandra Fuller's Don't Let's Go to the Dogs Tonight: An African Childhood (2001), this article highlights the memoir's problematic visual economies as a white-written memoir of a colonial Southern African childhood with occluded photographic representations of Black women nannies. The article signals the limimtions of hegemonic approaches to images, particularly in materials treated primarily as literary. Only by accounting for Fuller's use of photography can we appreciate the importance and shape of the memoir's racial and gender politics. Drawing on theories of family photography and intersectional, Black feminist accounts of visibilio, the article analyzes the two images of Black women in Don't Let's Go to the Dogs Tonight, revealing a dialectic of whiteness producing Blackness as its abject other, while Blackness remains crucial to, but occluded .ftom, the production of the white colonial family. The article concludes that the co.constitution of visible whiteness and occluded Blackness mirrors the ethnocentric and masculinist hierarchies of colonialism and maps onto hegemonic medial hierarchies that privilege text above image. Where Blackness/images are the denigrated other-necessary but occludeclwhiteness/text is a figuration of authority. This dynamic underscores the need for more perceptive and decolonizing methods of reading texts containing images. [ABSTRACT FROM AUTHOR]

This essay examines the resonances between Virginia Woolfs mock biogmphy Orlando (1928) and Maggie Nelson's autotheoric memoir The Argonauts (2015), highlighting the trans attentiveness of both authors. Although Woolfs and Nelson's forays into lifewriting are separated by neady a hundred years and both women are themselves cisgender, their challenges to oppositional sexism and cisheteronormativity craft a transgenre that, for contemporary readers, illustrates the generative possibilities latent in the proximity and reciprocity of wans and queer studies. Reading Orlando and The Argonauts as trans-adjacent texts invites scholars to cultivate a trans-attentive reading practice that both an*lifies and expands upon the existing queer approaches to these texts. [ABSTRACT FROM AUTHOR]

This article is dedicated to discussing how the possibility of producing one's own stories and narrating one's experiences enables the perception of the plurality of experiences of transgender persons. Focusing on the graphic memoir scene, we evaluate the maturity of this medium to, in sequence, present a brief analysis of Monstrans: experiencing horrormones, autobiographical graphic novel by Brazilian comic artist Lino Arruda, addressing both the different ways in which the author visually constructs his self-representation and the way he cuts and structures moments of his life. [ABSTRACT FROM AUTHOR]

Auslander and Bridger [ Stable module theory , Memoirs of the American Mathematical Society, No. 94, American Mathematical Society, Providence, R.I., 1969] introduced the notions of n-spherical modules and n-torsionfree modules. In this paper, we construct an equivalence between the stable category of n-spherical modules and the category of modules of grade at least n, and provide its Gorenstein analogue. As an application, we prove that if R is a Gorenstein local ring of Krull dimension d>0, then there exists a stable equivalence between the category of (d-1)-torsionfree R-modules and the category of d-spherical modules relative to the local cohomology functor. [ABSTRACT FROM AUTHOR]

This article considers My Friend Dahmer as a pedagogical document of educational critique. A graphic novel memoir, My Friend Dahmer depicts the teenage life of Jeffrey Dahmer in the years before he gained notoriety as a serial killer. One of the memoir's central tensions is that at Dahmer's school, even a serial-killer-in-the-making struggles to be seen, in fact fails at it, instead becoming an unexceptional feature of its landscape. Focusing on three factors – invisibility, exclusion, and alienation – the article interrogates how normalised schooling structures can represent a series of hidden brutalities that are far more common, pervasive, and socially consequential than the exceptional, sensational, and thus more easily dismissible notion of brutality that Dahmer himself embodies. It suggests that My Friend Dahmer contributes to our cultural understandings of education to the extent that it helps to locate these hidden brutalities and render them visible in graphic novel form. [ABSTRACT FROM AUTHOR]

In the second half of the 20th century, due to the growing interest in new fields of historiography such as social, intellectual, experiential history and microhistory, the expansion in types of sources was inevitable. Genres such as diaries, memoirs, autobiographies, letters and travelogues which until then had been considered literary material by historians who tended to take more official-administrative records seriously, were evaluated for their potential as historical sources. In this way, historiography gained access to an enormous source that had not been examined until now. In the following period, the discussions in Europe centered on how this material could be used as a source by the historian, the classification and analysis of the material, and the classification of genres. Especially in the 18th century, with the increasing number of such texts that provided access to the personal world of the individual, a progressive approach was established that these genres were related to the modern individual and their individuality. This strengthened the assumption that the individual in previous narratives only exists within social relations. This study does not accept the teleological and modernity-centered view of this approach, which has lost power in recent times, and considers that the people of each period create an individuality with their own values. This strengthened the assumption that the individual in previous narratives only exists within social relations. This study does not accept the teleological and modernity-centered view of this approach, which has lost power in recent times, and considers that the people of each period create an individuality with their own values. It is certain that adopting processes such as humanism, Enlightenment and industrialization as turning points and imposing modern self-centered individuality of human on previous texts as the sole authority will certainly mislead the historian. For this reason, the study is analyzing two important works of the autobiographical form, Confessions of Saint Augustine and Rousseau which show parallelism with each other even though there is a time gap of more than a thousand years between them. The aim is showing that the sources of self-narratives have something to say to the historian in the individuality of each period by trying to understand what kind of similarities and differences they reveal in terms of their individuality, and what kind of conception they have towards themselves and the world they live in. [ABSTRACT FROM AUTHOR]

(Sir John Scarlett, former MI6 chief, penned the foreword for the UK edition, and Michael Hayden, former director of the CIA, did the same for the US edition.) The first refers to a CIA-MI6-orchestrated coup in 1953 that overthrew the country's first elected prime minister, Mohammad Mossadegh, who offended London by moving to nationalize the Anglo-Iranian Oil Company. [Extracted from the article]

To Seelig's absorbing apocrypha we can now add the first English biography of Walser, Susan Bernofsky's superb I Clairvoyant of the Small: The Life of Robert Walser i . But it was mental healthcare that took a toll on Walser, and by then German publishers, decimated by the Nazi dictatorship, had lost one of his novels, while Walser destroyed another. When W. G. Sebald, who wrote the appreciation of Walser from which Bernofsky takes her title, wrote out his Suffolk walking excursion as I The Rings of Saturn i ( I Die Ringe des Saturns i ), he was extending Walser's featherlight excursus into a leaden tome. Though Robert Musil declared Franz Kafka to be "a special case of the Walser type", it is Robert Walser who still gets justified as a special case of the Kafka type. [Extracted from the article]

This is an overview on derived nonhomogeneous Koszul duality over a field, mostly based on the author's memoir L. Positselski, Memoirs of the American Math. Society 212 (2011), no. 996, vi+133. The paper is intended to serve as a pedagogical introduction and a summary of the covariant duality between DG‐algebras and curved DG‐coalgebras, as well as the triality between DG‐modules, CDG‐comodules, and CDG‐contramodules. Some personal reminiscences are included as a part of historical discussion. [ABSTRACT FROM AUTHOR]

In the book review of "Discursive Intersexions: Daring Bodies between Myth, Medicine, and Memoir" by Michaela Koch, the author analyzes the history and discourses surrounding the terms hermaphroditism and intersex. Koch uses Foucault's principles of literary discourse analysis to examine the texts and their authors, who identify as hermaphrodites or intersex. The review raises questions about the appropriateness of a Foucauldian analysis and the author's position as a non-intersex scholar. Despite these concerns, Koch's analysis effectively challenges the heteronormative gender-binary system and highlights the resistance and disruption of intersex authors. The book consists of two parts, focusing on hermaphrodite narratives and intersex narratives, and provides detailed snapshots of various texts and discursive events. Koch's analysis reveals the arbitrary nature of sex, gender, and sexual identity taxonomies and the need for a more fine-grained understanding of the binary system. The review recommends the book for those interested in ongoing debates on sex and gender, as well as graduate-level courses in gender studies and discourse analysis. [Extracted from the article]

After the Communist coup in February 1948, all areas of society in Czechoslovakia were indoctrinated by the ideology of Marxism–Leninism. The Christian Churches became the biggest internal enemies of the state, since, especially in Slovakia, they had a strong tradition and numerous representations. The government tracked representatives and members of the Church and controlled all their activities. The activities of religious orders were prohibited, which de facto abolished them. The only possibility of their preservation was to continue the life, education and work of individual orders in secret. Our goal was to examine how the Salesian order survived in this situation; specifically, we focused on the forms of formation and illegal study of the Salesians during the totalitarian regime. Research in these activities is rather demanding, since they could not be documented for security reasons. So-called memoir literature, the oral history method, and private archival sources were used in the research. Despite the fact that it seems that religious orders would not survive in this historical situation, the opposite was true: in the period of persecution, the orders were not only able to survive, but also raised a new generation that ensured their continuity and the continuation of their activities. [ABSTRACT FROM AUTHOR]

Introduction: This paper reviews Facets of an Academic's Life: A Memoir by Michael Wertheimer, with an eye toward practical guidance for teachers of psychology. Teaching Implications: Wertheimer provides a rich review of his experiences, intermixed with important lessons for teachers of psychology alongside the foundational scientific and pedagogical values of curiosity, skepticism, and humility. Practical lessons include recommendations for shaping the teaching of psychology through service and leadership as well as through scholarship and teaching. Additionally, Wertheimer's detailed descriptions of people and events can provide otherwise-inaccessible content for teachers who examine the history of psychology or who incorporate the historical foundations of psychology into their topical classes. Conclusions: Wertheimer's memoir has much to offer teachers of psychology. He provides practical recommendations as well as guidance about the foundations of science and teaching. The most important recommendations come from his rich life alongside academia and the balance between his wide-ranging professional and personal lives, particularly the importance of relationships, too often ignored in academic biographies. [ABSTRACT FROM AUTHOR]

Each of the five chapters has two parts: the first is written by Cindy Weinstein, an English professor and literary critic; the second is written by Bruce L. Miller, a behavioral neurologist and Director of the University of California San Francisco (UCSF) Memory and Aging Center (MAC). Weinstein, Cindy Miller, Bruce L. 2021 Finding the Right Words: A Story of Literature, Grief, and the Brain Baltimore, MD Johns Hopkins University 204 $22.95 hardcover $22.95 e-Book 9781421441269 I Finding the Right Words i is an intimidating book to review. [Extracted from the article]

Muriel Dimen penned many introductions to books and panels. In this essay that became the first chapter of Reading with Muriel Dimen/Writing with Muriel Dimen: Experiments in Theorizing a Field, I follow Dimen's manner of hopscotching among self-reflection, mentoring, and theory building. I riff on Dimen's call for a new genre of psychoanalytic text and read Dimen's 1986 memoir/novel, Surviving Sexual Contradictions, finding Dimen fomenting revolution on the page as in the consulting room, where paradox and contradiction spark innovation in personal, interpersonal, and professional space. I challenge the genre of editor's introduction to put personal narrative to political task (here, the story of my decision to shift the focus of this volume from collected works to collective writing). I place Dimen in conversation with authors whose lens trained on race during the years she pursued gender. In the vulnerability that Dimen bravely forded as she turned to the study of sexual boundary violations in her late work, I find permission to call for psychoanalytic publishing to go tilt-o-whirl in service of revolution in the field. [ABSTRACT FROM AUTHOR]

The colonial memoirs of German women reflected and often overtly supported the structurally racist assumptions that naturalized German rule in Africa and the Pacific. When it came to describing the reasons for colonial uprisings and wars, however, few focused on broad notions of 'racial warfare', foregrounding instead the primacy of the battle for political independence and territorial sovereignty. Via a study of the memoirs of Magdalene von Prince, Margarete von Eckenbrecher and Frieda Zieschank, Fitzpatrick's article questions the applicability of the flattening descriptor 'racial warfare' when describing colonial wars, and demonstrates that German women offered a clear sense that the line of demarcation between wartime allies and enemies often mapped poorly on to racial divides. [ABSTRACT FROM AUTHOR]

The article illustrates the relationship of Slovenian historiography with oral sources both before the 1990s and after Slovenia's independence, and above all highlights the practices of memory that have developed over the last thirty years in this country and the media's use of witnesses. In the Slovenian case, a long period of reluctance of historiography towards oral history could be observed due to a historicist approach tending to privilege archival sources as the foundation of any historiographical reconstruction. Oral sources were mainly collected and used on the fringes of historiography, in museums and amateur settings or in border areas, where historical research had been confronted since the early post-war years with the absence of archival and written sources. Thus, until the end of the 1990s, oral history in Slovenia remained an exotic, historiographically unreliable and therefore useless practice for "real" historiography, which in the contemporary sphere continued to be predominantly concerned with the topics of political and institutional history, even if prompted by anthropological, ethnological and sociological studies that in the meantime have rehabilitated oral sources in dealing with historical events. Despite an increasing number of oral history researches carried out in the last decade especially in the Italian-Slovenian border area, despite a multi-ethnic and multilingual presence, the cross-border approach has remained almost completely absent. [ABSTRACT FROM AUTHOR]

That is, while similar to Peter Falk's character, Sanneh is a likeable sleuth in the end his musical tastes often tend, following Columbo's, to come across as agreeably middlebrow in pursuit of some higher goal (Columbo's is to catch the killer, while Sanneh's is to validate the genre). Kelefa Sanneh's I Major labels: A History of Popular Music in Seven Genres i tries to apply some kind of controlling narrative to an esthetic category that is shambolic beyond any other. Bouncing between myriad genres, subgenres, and sub-subgenres, inserting elements of memoir along the way, following some threads obsessively while bypassing others altogether, neither is Sanneh's book really a history of popular music: it's his I own i history of popular music and how it has impacted his life. [Extracted from the article]

Shlūmū al-kurdī wa-anā wa-l-zaman (Shlūmū al-Kurdī, Myself and Time) (2004) is the final novel of Iraqi-Jewish author Samīr Naqqāsh. Considering the text in light of the cultural politics of memory and articulation, this article posits the novel as a true fabrication of a fictionalized memoir. By thematizing aspects of speech, movement and scriptural ecumenism within an Islamicate cultural memory, the text simultaneously narrates and mourns the WWI-era social collapse of multiconfessional Sablakh in Iranian Kurdistan. The narration employs a modified, self-amplifying tripartite narrative structure and a self-sustaining momentum born of the looping of prophetic and traumatic temporalities; together, such structural moves enable a cascade of witnessing of a marginal(ized) site of loss. The text thus intervenes in officially sanctioned genealogies of loss and overcoming while crafting an affirmative Eastern Jewish self-in-community beyond the linguistic, geographic, and epistemological confines of Mizrahi identity within the State of Israel. [ABSTRACT FROM AUTHOR]

My research highlights the complex relationship between narrative and temporality whilst exploring the narrative configuration of the Arab revolution. My paper situates the memoirs of Libyan novelist Hisham Matar's The Return and Egyptian novelist Ahdaf Soueif's Cairo: My City, Our Revolution, and their first-hand experience of the revolution in Libya and Egypt within the genre of memory and writing. The stated work is investigated to emphasize how both writers configure the immediate, historical, social, and political dimensions of the revolution. By transcribing the time of revolution into narratives, both writers attempt to preserve a watershed moment of the Arab history and portray collective as well as individual memory. I argue that through their acts of witnessing/writing/remembering, not only do these writers historicize the present but also produce narrative memory by articulating collective utterances. [ABSTRACT FROM AUTHOR]

This article considers three recent graphic memoirs that focus on Italian transnational migration and its legacies: Elizabeth A. Povinelli's The Inheritance, Joshua Santospirito's Swallows (Part I), and Pia Valentini's Ferriera. We adopt the term carto-graphic memoirs (Mitchell 2007; Norment 2012), to describe graphic novels that aim to literally and metaphorically map transnational lives, identities, and memories, through complex artistic processes of autobiographical (re)orientation, drawing, storytelling, and intellectual reflection. Dominant narratives of Italian migration redeem the struggle and shame of migration through individual success, upward mobility, and racial 'whitening'. These three works challenge stereotypical representations of Italian migration, and Italian hyphenated identities, focusing instead on geographical, historical and autobiographical fragments that come together on the page to sketch provisional and fragile, yet emotionally and intellectually powerful patterns. Such patterns reveal histories and geographies of racism, class exploitation, violence, trauma, but also histories of physical, existential, cultural, linguistic and intellectual resistance, exchange, and creativity. Each of these memoirs locate Italian migrants and their descendants at the intersection of traumatic histories and geographies of nationalism, colonialism, racism, sexism, and class exploitation. In doing so, they provide an extraordinary opportunity to rethink the relationship between transnational histories and individual lives. [ABSTRACT FROM AUTHOR]

Abdülhak Şinasi Hisar, whose most productive period was between 1933 and 1956, was a significant figure in Turkish literature who stood between tradition and modernity. The time he spent in Bosphorus, Rumeli Fortress, and Çamlıca during his childhood and adolescence had a great impact on his writing process and transformed him into a narrator who benefited from the past. Thus, Hisar told us about his memories of the past years and the “Bosphorus civilization” in his works, to exemplify, in Bosphorus Moonlights (Boğaziçi Mehtapları, 1942), Bosphorus Mansions (Boğaziçi Yalıları, 1954) and Past Times Mansions (Geçmiş Zaman Köşkleri, 1956). His works are like the chapters of a large memoir that are constantly nourished by the past. Some of the author’s works more closely resemble memoirs than novels due to his preoccupation with his memories, such as Fahim Bey and Us (Fahim Bey ve Biz, 1941), Our Brother-in-law in Çamlıca (Çamlıca’daki Eniştemiz, 1944) and Ali Nizami Bey’s European Style and Sheikhdom (Ali Nizami Bey’in Alafrangalığı ve Şeyhliği, 1952). As a result of their complexity, the works of Hisar tend to be regarded as narratives. As their titles imply, the primary focus of these narratives is on past events and the people belonging to the past. While Hisar described the past by evoking a sense of nostalgia, he was also cognizant, from a Bergsonian standpoint, of the unending/uncontrollable nature of time and change. As a result, as time passes, places and people also change, and those who do not make an effort to continue living their lives are characterized as “the disconnected”. In a sense, his characters are analogous to aging mansions; even as they age, they still evoke the glory of a particular era. This article analyzes the author’s three works and a selection of their characters. By examining Fahim Bey, Hacı Vamık Bey, and Ali Nizami Bey, this study examines time, change, and the characters left behind by the change. Also, these aspects will be compared to the “disconnected” Hisar profile, and the author’s relationship with his characters will be discussed. [ABSTRACT FROM AUTHOR]