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Pınar Kür is a Turkish writer who has produced important works in the field of short stories and novels since the 1970s. She has made significant contributions to literature with her novels and short story books. Kür's works are postmodern They are the products of a contemporary and innovative artist. Pınar Kür's literary style is characterized by She stands out with her character analysis and social criticism. Her works are the most important works of women in Turkish literature. He left his mark on a period when he raised his voice. With works that are still read and discussed today, Pınar Kür is remembered as an important figure in Turkish literature. The author describes the characters' experiences in the past. nostalgia through the memories of their experiences, and through this feeling, they are able to understand their inner worlds. in depth. The author often uses the nostalgic feelings experienced by his characters as a It reflects the relationship with the past and individual changing values. Characters in the stories reflect the past not only as a memoir but also as a reckoning with the events and attitudes he experienced. also sees it as such. In this context, the phenomenon of "going back to the past" is frequently seen in Pınar Kür's stories. In Pınar Kür's stories, memories are used in the identity formation of characters, their inner evolution and individual how they shape their experiences. Memories, their symbolic meanings, space and by dealing with their relationships with objects and the characters' emotional ties to their pasts. It aims to analyze the multidimensional structures of memories in Kür's works. to understand how coming to terms with the past is told through the power of literature and to understand how Pınar Kür's stories to explore the deep intellectual experience it offers to the reader. [ABSTRACT FROM AUTHOR]

In January and February 2023, the University of Luxembourg hosted a series of four online seminars on Frank Michelman's then just recently published book Constitutional Essentials (CE), a book which in Frank's own words aimed to work out the implications of Rawls' theory of political liberalism for constitutional theory and debates between constitutional lawyers regarding a number of constantly recurring questions of constitutional law. Eleven of the invited contributions to the four seminars (presentations of 15–20 minutes) plus one additional contribution by Silje Langvatn, are now collected in this special issue of Philosophy & Social Criticism, followed by a response by Michelman. This introduction to the discussions between Michelman and his interlocutors begins with a brief synopsis of some of the key lines of argument that Michelman develops in CE and then moves on to survey all the arguments offered in response. The last section takes a briefly look at Michelman's replies to these responses. [ABSTRACT FROM AUTHOR]

The article examines the artisanal model of social norms and its ability to accommodate normative disagreement, contestation, and change. It addresses criticisms that the model is overly individualistic and idealized, arguing that it can account for the complexities of social norms and the role of individuals, communities, and institutions in shaping them. The author engages with comments from other scholars, highlighting points of agreement and disagreement. The article concludes by emphasizing the importance of a nuanced understanding of the social world and its connection to our biological nature. [Extracted from the article]

The article discusses the existence and applicability of social norms in everyday life. It explores the question of why individuals are bound by social norms and why they ought to follow them. The author examines different theories, such as internalism and externalism, to explain the normativity of social norms. The article also discusses the ability of individuals to criticize social norms and proposes an artisanal model of social normativity that explains the existence of critical selves. However, the article points out limitations in the model's ability to explain criticism of whole kinds of activities, criticism by non-experts, criticism in the context of transmission of techniques, and criticism in terms other than excellence. Overall, the article provides valuable insights into the nature and critique of social norms. [Extracted from the article]

Copyright of Arts for Linguistic & Literary Studies is the property of Thamar 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.)

This article constructs a genealogy of anti‐imperialist cultural practice, connecting novels and spoken word projects of David Peace to post–World War II Japanese poetry and to the extreme music practice of the powerviolence band Column of Heaven. By placing Peace's novels in conversation with these different cultural forms, it aims to show how the modernist mystification can augment the radical political effects of popular art during the era of imperialism. The article proposes an alternative route to Marxist cultural criticism via Althusser's understanding of ideological interpellation and his critique of Lenin's classic analysis of imperialism. In this sense, it proposes to link contemporary experimental musical and literary practice to a Marxist politics of anti‐imperialism, in contradistinction to the potentially depoliticizing effects of the popular critique of neoliberalism. [ABSTRACT FROM AUTHOR]

Since the beginning of the twenty-first century, in alignment with globalization and the megatrend within the international socio-cultural sphere, China has initiated a large-scale "intangible cultural heritage (ICH) protection movement" through its proactive leadership and management of cultural heritage administration. As a significant component of Chinese cultural politics, this movement has profoundly influenced the cultural lives of Chinese society and its citizens and is poised to continue doing so. Some Chinese anthropologists have also participated in and significantly contributed to this movement in various ways. This paper comprehensively and meticulously examines these fundamental ways. Building upon this analysis, this paper further provides an overview and assessment of the research outcomes of anthropological research on Chinese cultural heritage, both domestically and internationally. The author posits that the paramount contribution of anthropologists, both domestically and internationally, to Chinese cultural heritages and the related protection endeavors lies in their academic research outcomes being predominantly based on their respective fieldwork practices. These outcomes, shaped and realized through on-the-ground fieldwork, hold exceptional value for cultural heritage administration and national cultural policies, as they effectively provide cultural criticism and dissenting perspectives. [ABSTRACT FROM AUTHOR]

The article discusses Rahel Jaeggi's book "Fortschritt und Regression" and her processual account of progress. Jaeggi argues that progress is a cumulative process of problem-solving and experimentation, while regression is a systematic blocking of this process. She rejects the idea that progress depends on a prior understanding of what is good or right, and instead sees progress as the progressive resolution of social problems. Jaeggi also explores the relationship between moral progress and social change, emphasizing the importance of broader social contexts. Overall, her approach offers a nuanced understanding of progress and regression in critical social theory. The article acknowledges Jaeggi's contribution to the understanding of progress in critical social theory, while also raising some challenges to her approach. [Extracted from the article]

In the fall of 1965, Carmen Laforet made a three-month trip to the United States at the invitation of the U.S. government. Her impressions of the country were portrayed in Paralelo 35, which was intended to be an "objective account of adventures and encounters." Despite the claim of objectivity, these travel chronicles do not hide the writer's admiration for the freedoms and rights enjoyed by American society, thus contrasting with Spain under Franco, the frame of reference from and for which Laforet writes. This essay identifies several rhetorical tools that allow us to read in Paralelo 35 the author's emerging critical perspective through the tension between the portrait of the United States as an example of progress and democracy versus the lack of freedom in Spain. Connecting with scholars who recognize in Laforet's work elements of dissidence with Francoism, I propose that Paralelo 35 reflects the search for narrative formulas that would allow to convey a critical message while securing publication in an editorial world strictly controlled by censorship. [ABSTRACT FROM AUTHOR]

Our study is Ahmet Hamdi Tanpınar's work "Saatleri Ayarlama Enstitüsü" in which he realizes social criticism with an ironic style. The work consists of four parts under the titles “Great Hopes, Small Truths, Towards the Morning, Every Season Has an End” and each part is numbered and subdivided into sub-sections. In the work, in which the faulty aspects such as people, institutions or social behaviors that prevent the development of the individual or society are shown and satirized, the author makes social criticism with metaphors, and reveals the differences in the work strikingly with the choice of words and representative objects. While describing the decay in society or institutions, the author pays attention to the relationship between words, ensures that this relationship is transformed into the strongest discourse and makes the irony even stronger by making use of the contrasts between words. In the work, attention is drawn especially to the fact that the work, transactions or behaviors that are wrong within the institution or society later turn into the general acceptance of the society. In our study, after the “Introduction” section, in which information about the event, person, time and place described in each part of the work is given, the author's criticisms that draw our attention and ironically address the faulty aspects of the society in his work are given under headings. Finally, at the end of the study, there is a “Conclusion” section in which the findings obtained about the work are evaluated. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 research examined social inequality and the resulting conflicts in the movie "Fantastic Mr. Fox." The objectives were to identify and analyze the portrayal of social inequality within the film using Max Weber’s theory of social stratification. Using descriptive qualitative method, the study involved detailed analysis of the movie script to uncover these themes. The findings revealed that the farmers, representing the upper class, oppress the animal community, which symbolizes the lower class. This dynamic led to various conflicts, highlighting the struggles and resistance of the underprivileged against the powerful. Film analysis demonstrated how animated films can reflect real-world social hierarchies. In conclusion, the research provided a deeper understanding of the use of popular media to comment on societal issues and emphasizes the importance of empathy and collective action to address inequality. This study contributes to the field by showcasing the potential of animated films as tools for social commentary and education. This study highlights the capacity of animated films to serve as effective mediums for social critique, urging viewers to recognize and challenge societal inequalities. The findings underscore the necessity for empathy and collective action in addressing systemic oppression. [ABSTRACT FROM AUTHOR]

We consider the category of “paschality”, introduced into Russian literature studies by Ivan Esaulov, in Anton Chekhov’s tale “In the Ravine”. In Russia, Easter is celebrated more solemnly than Christmas. According to I. Esaulov, this makes people give greater importance to life in Heaven and makes them ready to suffer and die in order to receive it. We recognize that the category of “paschality” can be fruitful for literature studies and, in particular, for the interpretation of Chekhov’s tale. Yet, we propose to amend it. We disagree with I. Esaulov’s opinion that giving a key importance to Easter distinguishes Russian Orthodoxy from the Christian West. But, first and foremost, we think that the paschal spirituality of the New Testament should not be juxtaposed neither to the Pascha (Passover, Exodus) of the Hebrew Bible, nor to the crucial role the New Testament gives to the Christmas mystery of the Incarnation. Instead, the paschal mystery should rather be seen as the continuation and fulfillment of both. This kind of “paschality” complements the social criticism of the tale “In the Ravine” and gives it a deeper sense. The horror described in “In the Ravine”, which reaches its culmination in the little child’s murder, is both exacerbated and softened by allusions to Christ’s birth and to Our Lady. Besides, due to references to the salvation of little Moses and the newborn Jesus, even ex negativo the tale alludes to Lipa’s and her fellow workers’ future salvation and liberation.

The main focus of scholarship on Yeshayahu Leibowitz’s philosophy and social criticism has been on his books and articles that were composed after his immigration to Palestine in 1935 at the age of 32. Little attention has been paid to Leibowitz’s first efforts in forging his philosophical outlook that preceded his move to Palestine. This initial literary activity was produced in German between 1929 and 1932 when Leibowitz resided in Germany and was active in Zionist affairs. In this article, I will focus on Leibowitz’s German essays as well as his early Hebrew essays published until the early 1950s. Unlike other scholars, I will argue for a sharper division between his German essays in the 1930s and his subsequent Hebrew articles until the early 1950s. Put differently, I will propose that the period which is usually considered as constituting Leibowitz’s early philosophy should be divided into an early and middle period. These changes between his early and middle period foreshadow the even deeper shifts in his thought that began in the 1950s, which allows the middle period to be regarded as a transition phase between his earlier and later views. [ABSTRACT FROM AUTHOR]

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This paper explores Erich Fromm's concept of humanism, arguing that it provides us with a unified theory for both clinical work as well as social criticism. Fromm's humanistic ideas are rooted in a structure of thought that sees our existence, our ontology as human beings, as constituted by our inherent capacities for both relatedness as well as positing ends and purposes in the world. By cultivating a self-awareness of these dual capacities, we can achieve a state of freedom, a self-consciousness of our capacity to shape our reality as opposed to conforming ourselves to it. In this way, Fromm's ideas constitute a critical humanism that can be realized in the world via self- and social transformation and not merely an abstract set of principles or concepts. [ABSTRACT FROM AUTHOR]

The charm of Jane Austen's writing and the historical context of the Regency era are so appealing that even in the 21st century, Austen texts and contents have continued to be produced through adaptations. These adaptations that function as re-visitings of the Austenian Regency have presented visual realms where we voyeuristically gaze and miss the Austenian past with nostalgic feelings. Austen, as a keen observer and social critic of her time, occupies such a place at the heart of the cultural heritage that she has become the symbol of Englishness whose works are the tools to remind longed notions of perfection and innocence lost after the Industrial Revolution. With the reflection of the romance plot, in these adaptations, the remote space of the Austenian Regency has become a "heterotopia" where past and present coexist simultaneously. In this article, I assert that the ITV mini-series Lost in Austen (2008), directed by Dan Zeff as an example of current adaptations, compares the Regency and the contemporary in such a way that it leads the forthcoming 21st-century adaptations to evolve into neo Austenian phase that evokes a postmodern sense of nostalgia. [ABSTRACT FROM AUTHOR]

Copyright of Digital Education Review is the property of University of Barcelona, Virtual Teaching & Learning Research Group 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.)

Dreams are a central feature of the extended realism of Ralph Ellison’s second novel, some drafts of which have been published as Three Days Before the Shooting . . . . In this novel, dreams help Ellison’s characters realize or present truths that cannot be presented in the language of straightforward realism. In a quasi- Freudian manner, Ellison’s dream narrations reveal his characters’ and novels’ most fundamental preoccupations. In this article I analyze part of a dream sequence from Book I of Three Days. This dream, had by a white liberal character, is centered on the figure of an iron groom (or hitching-post boy) who cannot be removed from the doorway to a house. I analyze the construction and function of this dream figure and narrative through the lens of (1) Ellison’s ritualist social criticism, (2) his extended-realist, tragicomic, and syncretic aesthetics, and (3) his allusive and narrative poiesis. The iron groom is constructed as a stereotype of blackness, linked to the major black characters of the novel and to figures in Ellison’s first novel. The groom-as-stereotype is subverted through verbal “signifying” and through the development of a tragicomic narrative rhythm. The dream functions to excavate the dreamer’s (and possibly the reader’s) “self-concealed racism” and to point the way toward what Ellison has called “the mystery of our unity-within- diversity.” [ABSTRACT FROM AUTHOR]

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Through its mixture of similarities to and differences from typical slow cinema practices, Roy Andersson's Songs from the Second Floor (2000) offers a unique perspective on what slow cinema can be. This is apparent in the film's mise en scène and cinematography. While the use of long takes, minimalist performances and deep focus fit comfortably within slow cinema tradition, Songs from the Second Floor differentiates itself with its expansive mise en scène, vast set designs and stationary camera. The film further expands on slow cinema with its inclusion of tragicomic humour, which complements slow cinema's modernist re-appropriation. [ABSTRACT FROM AUTHOR]

Copyright of Research in Comparative Literature is the property of Razi 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.)

As a world-renown American critic and theorist in poetry, Marjorie Perloff (1931-2024), with her in-depth exploration into western avant-garde poetry and poetics and her theoretical and methodological reconstruction by means of dialog with the 20th-century American critical theories, made great and unique achievements, which can be labelled as "the third path" in poetry criticism in terms of its transcending New Criticism and Cultural Criticism in the 20th and early 21st centuries. Since her first visit to China in 2007 and her co-founding of the Chinese/American Association for Poetry and Poetics in 2008, Perloff's critical theories and ideas have been translated or introduced into China. This paper presents an examination of Perloff's "third path" of poetry criticism, and its introduction to and influence upon China's poetry creation and criticism. [ABSTRACT FROM AUTHOR]

This essay makes a distinction between the roles that activists and social critics can play in democratic societies and defends the separate tasks of a non-activist social critic. Drawing on Ralph Waldo Emerson's writings, I argue that non-activist social critics are better situated than activists to reach certain audiences, cultivate certain democratic capacities, and preserve their audience's agency while doing so. In Emerson's case, his concerns about his activist contemporaries led him to craft new ways of critically engaging his peers. At the same time, as Emerson's life also illustrates, non-activist critics are limited by their roles and must forgo some of their distinctive advantages in order to do activist work. Clarifying the scope of the social critic's role in this way helps critics to draw on the benefits of their position and avoid overstepping its constraints, thereby allowing them to more effectively promote political reform. [ABSTRACT FROM AUTHOR]

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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.)

The article focuses on American author Barbara Ehrenreich's exploration in "Living With a Wild God," where delves into a mysterious teenage experience that challenges lifelong atheism. It highlights struggle with this ineffable encounter and its implications for rationalist worldview. It reports that Ehrenreich's memoir not only reflects ironic and incisive social criticism but also provides a nuanced investigation into the disorienting nature of authentic religious experience.

This text is a personal reflection on the author's experiences with Todd Gitlin, a prominent intellectual and writer. The author first encountered Gitlin when he was accepted into a PhD program at UC Berkeley, where Gitlin was a professor. They later became colleagues at Columbia University. The author discusses Gitlin's influential book "The Whole World is Watching," which analyzes the role of journalists in shaping public debate and the framing of political actors and ideas. The author also reflects on Gitlin's evolving thinking and writing style, emphasizing the importance of intellectual curiosity, flexibility, and clear communication. The author concludes by praising Gitlin's impact and hoping that future scholars will continue to find inspiration in his work. [Extracted from the article]

The Utopía y Praxis Latinoamericana magazine has published its 105th issue, which focuses on social and cultural criticism, environmental sustainability, resistance through symbolism and cultural practices, and methodology and epistemology in social research. The articles explore the connections between the local and the global, the ancestral and the contemporary, and the individual and the collective, with the aim of promoting broader social and epistemic justice. The reflection on identity and community is highlighted, as well as the questioning of established structures of power and knowledge. The author emphasizes the importance of axiology and normativity in the dynamics of symbols in the Latin American symbolic universe, mentioning examples such as the reinterpretation of "Caliban" and the resistance symbolized by the Virgin of Guadalupe and the handkerchief of the Mothers of Plaza de Mayo. It is concluded that symbols play a crucial role in articulating discourses and practices of resistance, liberation, and cultural and social vindication in Latin America. In addition, the magazine includes book reviews on the end of the cycle of anticapitalist revolutions, the role of the Inquisition in colonial Chile, psychological practice from cosmobiocentric perspectives, the life and work of Pablo González Casanova, and the theoretical, historical, and political evolution of social change in Latin America. The text also mentions a person who is a co-founder and editor-in-chief of the nuestrAmérica magazine and is dedicated to advising and managing editorial processes of scientific journals, with research focused on the philosophy of history, history teaching, and critical pedagogy. [Extracted from the article]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag 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 overarching goal of education extends beyond the mere attainment of competencies and academic standards; it encompasses a broader responsibility to cultivate students' awareness of their societal roles, obligations, and rights. This research, undertaken with the specific focus on the drama script "Subversive!" by Faiza Mardzoeki, aims to elucidate the manifestations of social criticism and morality within this literary work. Employing a qualitative research approach, this study hinges on document analysis as its primary methodological framework. Qualitative research, distinguished by its departure from statistical procedures and quantitative calculations, relies on the exploration of assumptions, broad perspectives, theoretical lenses, and a thorough examination of research problems. The research findings primarily unveil instances of social criticism embedded in political contexts and discernible moral dynamics between individuals. Notably, these insights derived from the drama script "Subversive!" serve as valuable material for the pedagogical realm, contributing to the understanding of literary texts in educational settings. This research contends that the implications of its findings extend to the realm of high school literature education, providing a foundation for educators to consider various aspects, types, and impacts of literary works. By delving into the social and moral criticisms encapsulated within these texts, educators can enhance the learning experience, prompting thoughtful reflection on societal constructs and the multifaceted roles literature plays. Additionally, the research underscores the pivotal role of teachers in facilitating this process, thereby emphasizing the broader educational significance of integrating critical perspectives into the study of literature.

This article analyses the work of translingual writer Pia Petersen. It situates Petersen's work within current debates about translingual writing and asks whether a translingual writer should be expected to draw attention to their multilingual background within their work. It argues that Petersen's work is disruptive in both its form and content. In terms of content, Petersen engages in pointed social critique, highlighting the social injustice of contemporary French and American society. She also defends an approach to literature as an art form that should be respected and valued, not debased by market forces, consumption or popular appeal. Her work is also disruptive on a formal level, since she incorporates a variety of registers and phrases in English into her French language prose. This is not a writer who could be described as a multilingual author who incorporates several languages into her writing. But nor should we except her to do so. Instead, Petersen's unique style reveals an attention to language, communication and disruption that suggests a translingual imagination. [ABSTRACT FROM AUTHOR]

In recent years, the use of social media has been very high among millennials and the middle class in Papua. This represents a new communication channel, especially in underdeveloped areas, where the political relations between citizens and the government are mostly conducted through conventional means such as demonstrations, dialogues, public hearings, submitting open letters to the government, putting up banners, and open complaint boxes. This article aims to analyze the role of social media in the process of public policy-making in the Province of Papua. The use of social media is very high among the millennial generation in Papua to respond to local government policies. However, its influence on policy change is still limited. Only traffic management policies have changed in response to criticisms on social media. This descriptive qualitative research was conducted through interviews and document analysis. The results show that social media plays a role in voicing public aspirations but has not yet influenced policy decision-making. There is a need for political will from the Papua Local Government to integrate citizens' aspirations into public policies. Further research could formulate a model of the relationship between citizens and the government through social media for more participatory public policies. [ABSTRACT FROM AUTHOR]

The article proposes an interpretation of Nikolai Nekrasov's poem "In the Village," according to which it cannot be considered as a work aimed at social criticism, the protection of the weak and lowly from the strong and noble. In his text, the poet speaks, instead, of the vulnerability and weakness of every human being in the face of nature and the world, and the inevitability of final defeat and death. Thus, Nekrasov defends the right of any person (including himself), regardless of her social status, to complain and be pitied. [ABSTRACT FROM AUTHOR]

This essay offers a statement and defense of four core claims of my work, Why Study Religion? Those are: (1) the field of religious studies is preoccupied by procedural methods for studying religion to the neglect of values and purposes that can justify its intellectual practices; (2) this preoccupation operates under a "regime of truth" that is anti-normative; (3) this regime of truth buckles under the pressure of repressed values and smuggles in crypto-normative judgments and commitments; and (4) this preoccupation with method can be remedied by attending to purposes that can justify the study of religion, which I call Critical Humanism. Critical Humanism aims to expand the moral imagination and comprises four values: post-critical reasoning, social criticism, cross-cultural fluency, and environmental responsibility. After describing the book's main claims, I take up critiques expressed by Michael Stausberg, et al. in their essay, "A Normative Turn in Religious Studies?" [ABSTRACT FROM AUTHOR]

Through a series of in-depth interviews, this article investigates how fans of color negotiate incidents of cultural appropriation in K-pop. Respondents employed various coping mechanisms to navigate the impact of such offenses while simultaneously grappling with the dissonance arising from negotiating alienating rhetoric and their own cultural identities. Criticism of cultural appropriation incidents was met with severe backlash, particularly exacerbating the marginalization faced by Native American fans who encountered underrepresentation and limited support. Drawing attention to the paradoxical interplay of globalization and ethnic nationalism in Korea, this research unveils a troubling cycle in which incidents of cultural appropriation in K-pop silence and render fans of color invisible within hostile environments. [ABSTRACT FROM AUTHOR]

This article approaches notions of a good life in Laos via the imaginary of the bangbot (literally: "hidden in the shade," i.e., "invisible"), a benevolent forest spirit of high moral integrity. The bangbot live in observance of the monastic precepts of Lao Buddhism deep in the jungle, far from human settlements, tying morality to undisturbed, remote forests. The article argues that this connection of morality with deep forest enables criticism and narratives about the good life at a time when "turning land into capital" is materializing in rapid deforestation. We suggest that the potential of this imaginary for socioecological criticism and alternative visions depends on social structure and historical context. While bangbot were instrumental in violent anti-colonial revolt, lending political legitimacy to rural ethnic elites, in today's context of frontier plunder vs. conservation, they are tamed to lend legitimacy to emerging urban milieus with a socioecological orientation. Thus the cultural, sociological, and ecological dynamics of Lao's late socialism are entangled in the spirit-figure of the bangbot. [ABSTRACT FROM AUTHOR]

'Cultural unconscious' is a vague term in literary and cultural studies. It has not yet been systematically examined from the conceptual standpoint. As a concept, it is not a simple idea that combines 'culture' and 'unconscious', but refers to the mechanism of cultural psychology and epistemology structured on the interaction of history, psychology, discourse, ideology and other factors. By investigating how culture and the unconscious work together to form a concept from the integrated approach of psychoanalysis and semiotics, this article aims to turn a vague idea into a clearly defined theory of criticism with practical applicability for cultural studies. After a conception of its logic and mechanism in terms of Freud's unconscious, Lacan's renovation, Peirce's semiosis, and Barthes's semiology, the article applies the new theory to the analysis of a literary text to see how it may not only help reveal deep dimensions and mechanism of cultural consciousness but also has the potential of becoming a theory of cultural criticism. [ABSTRACT FROM AUTHOR]

This article studies social perceptions of gig work and its conditions through the lenses of visual humour created and shared in digital environments. Food delivery services have thrived in cities, and riders – gig workers associated with such services – have become popular urban figures, easily recognisable through light means of transport and backpacks. These iconic elements have spread to forms of visual humour like memes and cartoons in social media. We aim to analyse the depiction of food delivery services and riders through graphic humour in digital environments, and its role as critical stances of gig work conditions. We draw from the literature on gig work, as well as critical humour in the workplace, approaching the phenomenon from the perspective of critical visualities and the memetic qualities of digital visual humour. Thus, we have conducted an analysis of rider memes, and carried out a focus group with Spanish cartoonists to better understand each form. From our analysis, we have observed that a) memes showcase less explicit critical stances but reflect a shared understanding of the hurdles associated to rider work; b) cartoons place riders in a contextualised, wider critique of platform economy and capitalism; c) while most graphic humour on riders takes an external, observational position, there is also an 'inner look' to the rider work, emphasising the promises and deceptions associated with the gig economy. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bima, who criticized the road conditions in Lampung through his Tiktok account, shocked the Indonesian virtual world. His reckless and resentful actions were taken because he thought that the Lampung authorities did not care about the existing conditions. This action sparked a polemic and drew attention to the Senayan palace and politician circles. For those who support it, this is a form of moral message and social criticism through digital platforms, while for those who reject it, they consider this action as slander, open disgrace, and violating legal and religious norms. Not long after, President Jokowi visited the location called Bima. Many people are grateful to Bima, because not long after the incident there were improvements and changes. Apart from that it sparked other announcers who criticized the development of their regions, such as those in Aceh, Jambi, North Sumatra, and Central Java. The main problem in this study is whether Bima's style of social criticism is in accordance with democratic principles and Islamic legal norms? If they are considered contradictory, then what is the ethics of social criticism on the virtual stage under legal and religious norms? This research is descriptive and qualitative with interviews and documentation as data sources. Research has found that Article 45 Paragraph 3 of the ITE Law and Imam Nawawi's views on ghibah mubahah are open spaces for millennials to express socio-political aspirations in both conventional and virtual contemporary spaces. Social criticism must prioritize good faith and methods and avoid hate speech and hoaxes so that the content delivered is easily accepted by others. Bima also set an example for those in power not to be surprised, to get used to criticism, to be tolerant, and to be kind-hearted. Lampung received billions in funding for road repairs. [ABSTRACT FROM AUTHOR]

This article analyzes how Colombian writer Fernando Vallejo uses his novel La rambla paralela (2002) to expose his literary suicide (the death of his novelistic alter ego and his desire to stop writing altogether) as a form of protest towards the nonsensical nature of reality, which is frequently evidenced in Colombian society. To this end, the first section describes the role that suicide has had in Western thought and literature. Afterwards, the second section explains the reasons behind Vallejo’s critical stance in his works. Finally, the third and main section analyzes how Vallejo kills his narrative in his novel and how this act serves as the author’s most radical protest against contemporary reality. [ABSTRACT FROM AUTHOR]