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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.)

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.)

Copyright of ABHATH is the property of ABHATH 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 takes as its starting point one of the most common idiomatic expressions in the speech and literature of the Greeks of the Terra d'Otranto (Apulia, Italy) and explores the presence of the same expression (ta fìddha tis cardìa, 'the leaves of the heart') in Byzantine and Modern Greek literature, highlighting its diachronic presence and the different contexts in which it can be found. [ABSTRACT FROM AUTHOR]

The first inspiration for this poem dates back to December 1952; Seferis took it up again in 1956, completed it and published it in 1969. In the long elaboration (testified by manuscript fragments of subsequent drafts) there is a political evolution of the poetic message, which becomes an act of protest against the military dictatorship in Greece (1967 -1974). [ABSTRACT FROM AUTHOR]

When released in theatres, Bacurau sparked a massive controversy due to its graphic depiction of violence and its alleged connection to Brazil's socio-political climate, marked in recent years by profound political polarisation and cultural wars. This article explores an often-overlooked aspect of the film: the use of humour and its articulation with horror and science fiction imaginations. Our argument is that humour plays a key role in Bacurau, establishing connections between speculative fiction and historical reality, which underpins the film's political work. We look at the significant attention that the interactions between humour, horror, and science fiction have received in Brazilian cinema produced over the last decade, and we conduct a detailed analysis of the use of humour in Bacurau, one of the most prominent films produced in the country during this period. We seek to understand how the interweaving of humour and speculative fiction is employed in the film, and if it is used to address controversial issues such as identity politics, racism, regionalism, and colonial legacies. We also investigate the extent to which this unconventional combination serves as a strategic tool for engaging with Brazil's contemporary landscape of social and political unrest. [ABSTRACT FROM AUTHOR]

Copyright of New Architecture is the property of New Architecture Editorial Office 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 following article presents how in the sixteenth century England, thanks to the increased awarness of the problems with mental disorders, the stories of madness entered the world of Renaissance drama and appeared in the works of numerous writers. As early modern culture and literature made attempts to understand female melancholy or insanity, particular focus is given to the characters of Ophelia in Shakespeare's Hamlet and the Duchess in John Webster's The Duchess of Malfi. The thorough analysis of the texts shows that contrary to the then common belief that all women's illness and irrationality derived from the womb, those were, too a great degree, social constraints which affected women and pushed them into insanity. Oppressive, male dominant and chaotic society either pushed women into a state of complete madness, which subsequently results in death or it is the madness, confusion and chaos around them that was the cause of their death. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Bulletin of The L N Gumilyov Eurasian National University Political Science Regional Studies Oriental Studies Turkology Series is the property of L.N. Gumilyov Eurasian National University 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.)

Collective rituals are representative and phenomenological sites of religious affects. These rituals counter colonial discourses, facilitating the interaction of folk-festive African cultures with hegemonic Catholicism to fashion Afro-Brazilian identity. These folk elements resist the hegemony of objectivism in religious practices, especially in previously colonized societies like Brazil. The traditional religions of the Afro-Brazilians have been delegitimized by colonial regulations that aimed at suppressing embodied emotions and its public expressions. In Brazil, candomblé is a religious ceremony that signifies syncretism in which the spirits of ancestors and natural phenomena are invoked by Healers, in spaces that transcend the public/private binary. These eco-ancestral rituals emerge as sites of expressive emotions in which the drumming, singing, and dancing bodies of the performers are embedded. The proposed paper situates the candomblé rituals in Crooked Plow (2023), a contemporary Brazilian novel, within the socio-cultural and political matrices of the plantation communities of the twentieth century. The novel is set in a colonial plantation in Bahai, a Northeastern province in Brazil, where plantations owned by Portuguese colonisers operationalized tenant farming, installing slaves brought in from Africa during the Transatlantic trade as bonded labourers. The paper examines how Afro-Brazilian religious rituals facilitate political mobilization and agential potentialities using insights from affect theory. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Islamic Review / İslam Tetkikleri Dergisi is the property of Journal of Islamic Review 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.)

If it's so rare to see vegetarian characters in the international fiction, it's even rarer in the contemporary Arabic narratives. Yet it's common to find them in classic Sufi and religious literature (al-Rūmī, al-Ma'arrī, Iḫwān al-Ṣafā') and collections of tales. After a historical survey about the Prophet's and Sufis' positions on vegetarian food, excerpts from Kalīla wa Dimna and other fables, we start with Maḥfuẓ's Bidāya wa Nihāya ("The Beginning and The End;" 1949), where vegetarianism comes "from necessity," is marginal and treated with humour. The real focus of this article is the novel Nazīf al-ḥağar ("The Bleeding of the Stone;" 1991), by the Libyan writer Ibrāhīm al-Kawnī. From Sufism it draws its themes and suggests sustainable models for human interactions with nonhuman animals and environments. This novel helps us to link ecocriticism, in its vegetarian/vegan declinations, with decolonial or postcolonial theory. Apart from that, it can be analyzed through the lens of eco-feminism, human-animal studies and biopolitics approaches. To better understand the context that underlies vegetarianism in the Arabic literary arena, I try to analyze two other contemporary novels that offer interesting insights and perspectives, even if they don't present this theme as pivotal. Min ḫašab wa ṭīn ("Made of wood and clay;" 2021) by the Moroccan writer and poet Muḥammad al-Aš'arī, suggests a selective vegetarianism, connected to a perspective of ecocritical philosophy of life, adopted by two socially different characters. The last text to be analyzed in this article, Krīsmās fi Makka ("Christmas in Mecca;" 2019), by the Iraqi writer Aḥmad Ḫayrī al-'Umarī, carves a young vegan character to shed light into issues of social identity in the Western countries diaspora. [ABSTRACT FROM AUTHOR]

Copyright of Anaquel de Estudios Árabes 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.)

This literature review examines representations of family relationships in contemporary Chinese fiction, focusing specifically on mother-daughter and father-son dynamics. Both relationships are generally portrayed as more conflicted than warm. In the mother-daughter relationship, the daughter both loves and hates her mother at the same time. By “scrutinizing” her mother, the maturing daughter gains a sense of gender identity and the two eventually forge an alliance grounded in sisterhood. Similarly, the son holds a dual attitude towards his father that graduates from negation to reevaluation. Although he challenges the authority and ideals associated with fatherhood, he also revers his father as a figure with admirable qualities such as decisiveness and morality. The son fails in seeking the absent father who is portrayed as a spiritual leader, eventually realizing that he can only seek his own self. The paper identifies a trend in Chinese New Era fiction of breaking traditional parental myths, positioning fathers and mothers in the roles of ordinary women and men. As narrators, daughters and sons are portrayed in their search for their own identity in relation to their parents. This review provides fundamental insights for further exploration of key themes in Chinese contemporary literature, such as the evolving dynamics of family relationships and the construction of individual subjectivity. [ABSTRACT FROM AUTHOR]

Copyright of KUL Journal of Legal Studies / Studia Prawnicze KUL is the property of John Paul II Catholic University of Lubin / Katolicki Uniwersytet Lubelski Jana Pawla II 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 eHumanista is the property of Professor Antonio Cortijo-Ocana 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 the chapter "Contemporary Myth-Making and Myth-Unmaking" from the book Between Deadlock and Humanism. On Some Phenomena of Modern Western Literature, published postmortem in 1967, Minko Nikolov delineates two divergent trends in Bulgarian critical thought during the 1960s in the Eastern Bloc. These tendencies constitute a good prism through which to interpret the critical debate on Zhechev's "The Myth of Odysseus". The trend of myth-making relates completely to Toncho Zhechev who constructs a modern myth of "return to homeland", encompassing ancestors, family, village, tradition, or more broadly, a mythological, cyclical conception of time. The reverse trend of myth-unmaking in this context is attributed to Iskra Panova, Minko Nikolov, and the intellectualist vein in general. This article focuses on the debate between intellectualism (modern critical thinking) and impressionism (essayistic creative thinking) as preceding the structuralists/impressionists polemic in the 1970s. The basis of the intellectualists-impressionists conflict is an authentically Bulgarian-European axis that continues haunting our public discourse. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches 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 focuses on the image of campus life as presented in a selection of novels written in Polish, Slovak, and Ukrainian after 1989. The author presents generic peculiarities of Slavic campus fiction and analyses the theme of (academic) coming-of-age in Slavic campus fiction. The maturation of student characters in Maryna Hrymych's Yura and Pavol Parkov's The Legend About the Language occurred in Soviet Ukraine and Czechoslovakia, respectively, around 1968. In contrast, the protagonists of Jagoda Grudzień's Erasmopeja and Tania Kalytenko's Antero undergo academic identity formation in contemporary Scandinavian countries as participants in academic exchange programs. While Hrymych and Rankov portray characters navigating totalitarian societies of the past, Grudzień and Kalytenko situate their students within the anxieties of the globalised world, where remembering the past remains crucial. The author concludes that contemporary campus fiction written in Slavic languages addresses the issues significant for the cultural memory of the particular nation. Collectively, these novels contribute to a sense of continuity in academic culture within East-Central Europe. [ABSTRACT FROM AUTHOR]

The Strike series of contemporary crime fiction novels by Robert Galbraith exhibits an abundance of descriptions of real-life London. The aim of this article is to explore their functions in the context of the author's works. Characteristic properties of the cityscapes in the novels are the merged perspectives of the omniscient narrator and a character, foregrounded details, contrasts in images and attitudes, and the use of metaphor and personification. Text World Theory allows us to explain how they aid in constructing mental representations, or text-worlds, of the city and examine functions fulfilled by the depictions of London in R. Galbraith's fiction: (1) emphasising connectedness between the discourse- and text-worlds, (2) creating an atmospheric background, (3) broadening readers' understanding of characters, (4) making London a character in its own right, (5) advancing the story. The first function is typical of all the text-worlds analysed; it indicates the realworld nature of fictional information as a distinctive feature of the Strike series. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Carolinae Philologica is the property of Charles University Prague, Karolinum 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.)

The purpose of the article is to demonstrate the game strategies of Viktor Pelevin, one of the most prominent representatives of modern Russian literature, using the example of the short story "Sigmund in the café". In comparison with the stories of T. Tostaya or L. Petrushevskaya, Pelevin's game poetics is more postmodern, it excludes the moral perspective of the narrative, but exposes the principles of playing with the reader, involving him in a postmodern text. The author appeals to the knowledge of modern man about the theory of Sigmund Freud and on this basis enters into a creative game. The "deception" of the reader who believes in the realization of Freudian ideas turns into a talented practical joke. [ABSTRACT FROM AUTHOR]

Copyright of Revue des Lettres Modernes is the property of Classiques Garnier 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 "Post-Postmodernist Fiction and The Rise of Digital Epitexts" by Virginia Pignagnoli explores how digital technology has influenced contemporary authors in engaging with audiences beyond the text itself. Pignagnoli delves into the concept of paratexts, specifically communicative and epistemic types, in the context of 21st-century fiction. Through detailed analyses of works by authors like Michael Chabon, Jennifer Egan, and Catherine Lacey, the author examines how digital epitexts facilitate author-reader communication and narrative co-construction. The book emphasizes the evolving nature of narrative communication in the digital age and the significance of paratexts in post-postmodern fiction. [Extracted from the article]

The editorial in "Modern Chinese Literature & Culture" explores the didactic aspects of literature, focusing on how writers aimed to instill and challenge values and ideals. Articles cover a wide range of genres and forms, from silent drama to children's literature. Topics include national salvation, modernity, socialism, and the evolution of narrative techniques, showcasing the rich and complex tapestry of modern Chinese literature and culture. [Extracted from the article]

Globalisation of the manufacturing and service industry has increased complexity of the flow of materials and goods, magnified dependency on the underlying network, and made the industry more vulnerable to the changing market conditions. As manufacturing and service industry undergo transformation, an opportunity to rethink the design of future enterprises has emerged. Six enablers of miniversal manufacturing are discussed: digitisation, open manufacturing, service orientation, shared manufacturing, sustainability, and resilience. These enablers will form properties of universal manufacturing, with adaptability and affinity that are emerging. A universal manufacturing enterprise will be formed based on the distributed manufacturing facilities. The emerging standards for interoperability of systems needed for universal enterprises are discussed. The data and modelling standards will enable the synthesis of digital models into universal enterprises. Though there is no global standard for the representation of digital manufacturing models in a cloud, the existing process modelling methodologies and languages may offer the solutions needed. The evolution of production systems is illustrated with three snapshots, dedicated manufacturing, distributed manufacturing, and universal manufacturing. The modelling approach followed in this paper is bottom-up rather than top-down followed in the literature on modern manufacturing. [ABSTRACT FROM AUTHOR]

This work reviews the progression of chemical analysis via Cherenkov emissions, i.e., Cherenkov Photometry and Cherenkov Emission Spectroscopy, from its introduction in the literature up to modern developments. In presenting the history of this field, we aim to consolidate the literature, both for reference and contextualization. We present an argument aiming to untangle why this corner of research has seen little progress while so many other directly related aspects of Cherenkov research have flourished, as well as speak to the progress of the field in recent years and prospective direction in years to come. [ABSTRACT FROM AUTHOR]

The influence of Turkish culture on Egyptian literature, especially modern literature, cannot be overlooked. With the collapse of the Mamluk state, Egypt remained a part of the Ottoman Empire for three centuries until the modern era. While Turkish literature draws inspiration from ancient Oghuz, Islamic, and Western cultures, Egyptian literature has been nourished by ancient Pharaonic, Arab, and Islamic cultures to demonstrate its cultural and Eastern identity in the fields of science and literature. Developing under the influence of the West and evolving into various literary forms, modern Egyptian and Turkish literature are almost parallel in terms of their development of literary forms. However, this similarity at the beginning of modern literature found it difficult to influence and be affected for several reasons. This study examines the relationship between Turks and Arabs in general, and specifically with Egypt. It investigates the impact of Turkish-Egyptian political relations on literature, as well as their manifestation in academic works and their influence on basic educational curricula. Subsequently, factors that bring Turkish and Egyptian literature closer or drive them apart are discussed, along with the transmission of Turkish literature to Egypt, the presence of Turkish publications in Egypt, and the interaction between these two communities through travel, journeys, and education. [ABSTRACT FROM AUTHOR]

Throughout the annals of Georgian literature, numerous poets and writers have placed significant emphasis on the cultural characteristics inherent to diverse areas. Vaja Pshavela was a prominent figure throughout the early 19th and 20th century. Pshavela’s literary contributions enhanced the complexity of modern Georgian literature. Nevertheless, his linguistic selections have encountered certain censure. For example, the linguistic style employed in his writings has notable disparities from the present Georgian language, resulting in criticisms. Furthermore, there has been ongoing dispute regarding the comprehensibility and accessibility of Pshavela’s language. The frequent utilization of the Pshavi dialect and outdated vocabulary may impede the comprehension of readers. From a linguistic standpoint, the importance of Pshavela’s creativity and dedication to the traditional Georgian language becomes apparent; yet, the influence of this on the evolution of modern Georgian remains a subject of contention. The primary objective of this work is to conduct a complete analysis of Pshavela's linguistic selections and their impact on the evolution of Georgian literature. Consequently, it can be inferred that Pshavela’s linguistic inclinations have exerted a substantial influence on the subsequent development of Georgian literature. A thorough examination of his literary oeuvre can yield a more profound comprehension of the abundant and varied nature of Georgian literature. [ABSTRACT FROM AUTHOR]

This essay explores the material history of Jewish literature by examining a trio of artists’ books featuring the work of early twentieth-century poets. Each artists’ book treats its original source material as a physical object: Moshe Gershuni’s Thirteen Etchings for Poems by H. N. Bialik (1987) reproduces pages of the landmark 1923 edition of Bialik’s collected poems, illustrated by Yosef Budko, alongside Gershuni’s prints; City-Poem: Unpublished Poems by Leah Goldberg Inspired by Woodcuts by Franz Masereel (2012), includes expressionist woodcut prints and images of handwritten poems from a 1929 Masereel edition once owned by Goldberg; The Unlocked Diary: Collected Works (2021), contains facsimile reproductions and translations of poems and excerpts from a personal diary by Matilda Okinaite, a Lithuanian Jewish poet who was murdered in 1941. I use the term “repurposing” to indicate how these works respect the autonomy and inviolability of the earlier texts while also promoting the creation of new meaning for contemporary readers. As a group, these books illuminate the often-precarious conditions in which modern Jewish literary sources were produced, and their ongoing physical vulnerability in archival settings. This appreciation for literature’s material qualities allows for a better understanding of how residual traces of the sacred continue to shape the evolution of secular literary genres. [ABSTRACT FROM AUTHOR]

This article examines the aesthetics of dirt in Shmuel Yosef Agnon’s writing, through the perspective of the Anthropocene. I argue that the climate crisis requires a rethinking of many aspects of human life, including the way we think about consumerism, physical objects, bodily fluids, and filth. Agnon’s writing — situated and struggling between two opposing aesthetic orders — can function as a valuable opportunity for rethinking these issues. I start with two moments of filth: The very short story “Three Sisters,” and the story about Firadeus’s father in the novel Shira. In the main part of the article, I focus on two short stories: “The Orange Peel” and “From Lodging to Lodging,” both published in the late 1930s. I argue that filth and cleanliness are central concepts for understanding the aesthetic role assigned to “the Jew” and their entrance into modernity. Agnon draws a connection between dirt and “the East” as a general category that brings together the wearers of sidelocks, the lower classes, Eastern immigrants, and the Jewish town. The pioneering option, as I demonstrate, fails to contain the dirty remnant, and likewise misses the redemption that is possibly hidden within the trash. Thus, Agnon sullies the possibility of clean literature, bringing into modern Hebrew literature Galician remnants. [ABSTRACT FROM AUTHOR]

The Polish poet Juliusz Słowacki (1809–1849) travelled through Palestine between 2 January and 27 January 1837, from El-Arish on the southern border with Egypt, at that time quarantined owing to plague, to the area around Lake Tiberias in the north, which had just been devastated by a strong earthquake. A detailed analysis of the itinerary of this pilgrimage has made it possible to establish new circumstances and topographical facts. The poet's recently discovered personal diary (Raptularz Wschodni) contains hitherto unknown observations and drawings by the author himself. Together with his other travel notes and recollections in his letters, they constitute an invaluable basis for a new account of how and where he wandered, and where he stayed and spent the night. The published accounts of other 19th-century travellers in Palestine have helped establish further details: three Polish Roman Catholic priests, two French intellectuals, and the English aristocrat and globetrotter G. Robinson, as well as site views by D. Roberts. The traditional and often erroneous identification and dating of the sites visited by Słowacki have been verified on the basis of scientific historical and archaeological research as well as the author's own observations in situ in Israel and her interviews with Franciscan archivists. As far as the extensive modern Polish literature on this journey concerns, the novelty here lies in identifying features in three of Slowacki's drawings and determining the places where the poet stayed in the Franciscan hospices in Ramla, Jerusalem, Bethlehem and Nazareth. [ABSTRACT FROM AUTHOR]

Translating dialectal terms and idiomatic expressions embedded in Saudi contemporary fiction is an underresearched topic, and the assessment of translating dialectal terms and expressions has not been examined adequately as there is a scarcity in the studies addressing such a translation issue. Therefore, the current study is mainly interested in assessing how far the translators of Girls of Riyadh could succeed in translating the embedded dialectal expressions in the novel and whether their translation could transfer the overall effect, aesthetic values, cultural atmosphere, style and pragmatic effect. To achieve this end, the study has classified dialectal elements under the rubric of cultural markers and assessed the rendition of these cultural markers in connection with Dickins’ degrees of cultural transposition and House’s concept of covert translation and its criteria. Following the assessment of samples from the novel, the study has found that the translators neither follow domestication nor foreignization and that they rely heavily on the communicative translation strategy, and in most cases dialectal expressions are omitted or rendered into formal English. [ABSTRACT FROM AUTHOR]

Adil Yakubov (1927-2009) is one of the most important representatives of modern Uzbek literature. The author's works stand out because they boldly reveal the social, spiritual and moral issues of the period, aim to reveal the truth about man and his heart, and passionate discussions about the purpose of human life. Yakubov is a writer who focuses on historical issues as well as current issues. It is his novel Ulug'bek Xazinasi (Uluğbey's Treasure 1974) that made him known throughout the world. Yakubov's other important historical novel is Ko'hna Dunyo (Old World 1982). The author describes the period of Mahmud of Ghazni in Köhne Dünya. Avicenna and Bîrûnî, important figures of the period of Mahmud of Ghazni, play important roles in fiction. Although the novel seems to be centered on Avicenna and Bîrûnî, Yakubov actually tells about Mahmud of Ghazni. In this article, how Mahmud of Ghazni was fictionalized in the novel Ko'hna Dunyo was discussed on the basis of historical reality-fictional reality. Mahmud of Ghazni and his period described in historical sources and Mahmud of Ghazni and his period in the novel were analyzed with a comparative method. [ABSTRACT FROM AUTHOR]

In operating an academic statistical consulting centre, it is essential to develop a strategy for covering the anticipated costs incurred, such as personnel, facilities, third‐party data, professional development and marketing, and for handling the revenues generated from sources such as university commitments, extramural grants, fees for service, internal memorandums of understanding and consulting courses. As such, this article describes each of these costs and revenue sources in turn, discusses how they vary over phases of a project and life cycles of a centre, provides a review of both historical and modern perspectives in the literature and includes illustrative examples of financial models from three different institutions. These points of consideration are meant to inform consulting groups who are interested in becoming either more or less centrally structured. [ABSTRACT FROM AUTHOR]

This study seeks to identify the primary objectives of the narratives found in extensive passages of the Qur'an. These narratives primarily serve to guide and enlighten individuals. Moreover, they demonstrate that Islam and its principles are not new phenomena but rather a continuation of the teachings of previous prophets. The narratives aim to recount historical events, and to take a consideration for present and future generations. These narratives also provide a brief history of the ongoing struggle between belief and disbelief, and emphasize the consistent nature of human behavior in this struggle through different ages. By emphasizing the existence, unity, and omnipotence of Allah, these narratives provide evidence that Muhammad, who conveyed them through revelation without prior knowledge of past prophets and communities, is indeed the Messenger of Allah. This study aims to explain the main purposes of these Qur'anic narratives, which are dispersed throughout various works, and to explore why narratives are so prevalent in the Qur'an. The Qur'an functions as the primary source for this study, supplemented by narrative materials from classical tafsir and sirah sources, as well as modern literature. The main objectives of the Qur'anic narratives are presented in bullet points for clarity. The study reveals that, these narratives serve various other purposes in addition to its offering of advice and lessons. [ABSTRACT FROM AUTHOR]

Intersubjectivity has long fascinated thinkers who have challenged the notion of the unitary subject. Its alternative, the intersubjective self, is permeable and reciprocal, open to and shaped by the others. Questions of intersubjectivity have become increasingly urgent as a result of the rise of social media which metaphorically brings users together as a shared mind. This article probes questions of relationality and the narratable nature of human self (cf Cavarero in Relating Narratives: Storytelling and Selfhood. Routledge , London, 2000; Butler in Giving an Account of Oneself Fordham. University Press, New York, 2005) in a work of fiction that compares the relationalities created by social media and the subjective experience: Patricia Lockwood's novel, No One Is Talking About This (2021). The very opacity of the novel probes the question of what (inter)subjectivity might mean in the age of social media. More broadly, the article seeks to test the relevance of feminist theories of relational and narrative self within the context of the novel. [ABSTRACT FROM AUTHOR]

Placing contemporary representations of subjective experiences of childbirth at the centre of the analysis, the article examines birth scenes in Inga Gaile's novel Stikli (Glass Shards, 2016) and Anna Auziņa's novel Mājoklis. Terēze's dienasgrāmata (The Dwelling. Terēze's Diary, 2021). While Gaile explores experimental writing and rhythm to articulate natural birth from the immediacy of an embodied experience, Auziņa portrays the experience of giving birth in hospital, where birth is reduced to a sequence of medical procedures and the birthing woman's agency is erased, with the retrospective storytelling becoming a way of recovering the agency. The different circumstances portrayed present childbirth as a completely different experience, yet by focusing on the subjective and embodied perspective of the woman giving birth, both texts challenge the previous taboo of talking about the maternal body and disrupt the cultural beliefs about childbirth that erase the subjectivity of the birthing woman. [ABSTRACT FROM AUTHOR]

In this study, we aim to explore the critical theoretical and conceptual aspects associated with the term "intertextuality," a modern literary technique that enables authors to achieve prominence in global literature. It is widely acknowledged that every literary or artistic work is rooted in and derives from preceding texts, forming intertextual relationships and connections. We have selected "Ha and the Journeys of Ishtar" by Algerian writer Ezzedine Jalawji as our primary text, noted for its rich intertextuality encompassing religious, literary, historical, and heritage dimensions, and its integration of various literary genres within the novelistic form. This technique is prominently displayed in his contemporary Algerian narratives, which oscillate between traditional roots and modern experimental forms. Our research attempts to trace and explore its characteristics, interpret its meanings, decode its symbols, highlight its aesthetic elements, and examine its multifaceted functions in these novels. Key questions we seek to address include: _ To what extent has Ezzedine Jalawji utilized the technique of intertextuality in his works? _ How has he employed this technique to achieve genre openness and ascend in the realm of narrative experimentation on a global scale? _ Has Ezzedine Jalawji successfully achieved global recognition through this technique? _ Do the subtitles serve the narrative content's theme, or is it vice versa, or are both merely experimental? Our research paper endeavors to answer these questions. [ABSTRACT FROM AUTHOR]

The paradigm of written language and the transformation of literary styles hold significant symbolic importance in the modern transformation of Chinese literature. In this process, Liang Qichao, who was at the center of the era's stage, and his literary practices have a pioneering historical significance. Liang's fluid and changeable cultural character during the transition period is closely related to his continuous encounter with new knowledge, new ideas, and new cultures. Against the backdrop of Western learning spreading to the East, Liang read extensively from various ancient and modern Chinese and Western classics and renewed the established literary styles through his newspaper propaganda practices. Liang's New Literary Style is greatly related to reading and imitating Japanese literature, especially during his stay in Japan after The Hundred Days Reform. The New Literary Style is linked to knowledge and possesses a unique charm on the emotional level, and its demise also comes from this characteristic itself. Understanding the New Literary Style in the process of the evolution of the traditional literature between modern China and Japan can provide a glimpse into the historical process from reformed classical Chinese to reformed vernacular Chinese. [ABSTRACT FROM AUTHOR]

The article, "Narratives of the Unspoken in Contemporary Irish Fiction: Silences that Speak," explores the theme of silence in Irish literature. The collection of essays, edited by Maria Teresa Caneda-Cabrera and José Carregal-Romero, examines how silence is embedded in language, culture, society, and institutions. The essays cover various well-known Irish authors and analyze the role of silence in historical novels, aesthetics, gender, shame, and the cultural shift post-Celtic Tiger. The book offers a profound exploration of silence as a powerful force shaping Irish identity and narratives, inviting readers to contemplate its significance in actions, beliefs, and erasures. [Extracted from the article]

Margaret Cavendish, Duchess of Newcastle, can be called many things: writer, poet, philosopher, woman, Royalist, eccentric rule-breaker, scientific collaborator, utopian thinker, and the list goes on. Unfortunately, access to her writings, typically her The Description of a New World, Called the Blazing World, are often limited in academic settings to courses centered on the seventeenth century, early modern utopian literature, Restoration literature, and possibly an early modern women writers class. Though these are all wonderful course topics, they are often upper-division courses specifically designed for English majors of the early modern period. Limiting Cavendish to only these courses means that most university students will not come across her texts, even if their institution requires at least one English elective course. Furthermore, Cavendish tends to be excluded from entry-level English courses because these courses are often designed around contemporary themes and texts that target students from diverse academic disciplines and non-English fields of study. Additionally, Cavendish is often seen as inaccessible to a wide audience because her writing style and philosophical experimentations can be difficult to process. In typical English classes, student understanding of literature is often assessed by requiring them to write academic essays that adhere to a very traditional structure, which can be intimidating to non-English majors. In order to introduce Cavendish to a broader student body, this essay will examine teaching her texts through multi-modal, student-centered, creative pedagogy using digital, visual, written, and verbal expressions that go beyond the traditional academic essay. A more diverse pedagogical approach to teaching Cavendish ensures that she can be read alongside, and in conversation with, more contemporary writers and texts. [ABSTRACT FROM AUTHOR]

This article recounts an instructional event for English majors held in the central campus library. Students engaged with various materials related to the career and editorial history of Anne Finch. The event offered students an introduction to questions of information literacy, textual history, and literary studies. [ABSTRACT FROM AUTHOR]