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Throughout the 19th century, the ruins of the Great Zimbabwe, the main settlement of an ancient Shona kingdom on the Zimbabwean plateau, was the subject of a controversy regarding the origins of the society that had built these stone structures. In documents produced by European explorers and chroniclers, the “Phoenician hypothesis” was entangled, according to which Great Zimbabwe would have been built by Semitic colonizers in Antiquity. This article analyzes two documents produced in the period, The Ruined Cities of Mashonaland (1892), by Theodore Bent, and the historical novel Elissa (1900) by H. Rider Haggard, with an emphasis on the relationship between colonialism and the marginalisation of African pasts in the interweaving of History and Literature. [ABSTRACT FROM AUTHOR]

Historical chronicles in Southeast Asia often designate the forest as an area where animals and spirits prowl, where heroes meditate or journey across. But the forest is neither a mere setting nor a passive witness to the unfolding of events. Using nineteenth- and twentieth-century historical chronicles from Cirebon, West Java, this article examines how the forest is storied to mediate the past. Discussion is centred around three narrative topoi: the first concerns the establishment of new settlements, as prefigured through forest-clearing; the second accentuates the forest's rhetorical function as a site of disappearance during Islamization; and the third analyses the creaturely figure Menjangan Wulung, who sabotages the Cirebonese sultanate and lurks in the wilderness. An inquisitive reading of these episodes reveals the forest to be a historiographical trope. Conceived as a topography of concealment, the forest exemplifies a withdrawn reality where contentious pasts are subdued yet sustained, preserving continuity amidst change. [ABSTRACT FROM AUTHOR]

The article both presents how, from the end of the 1980s onwards, native peoples have begun to occupy certain spaces of textual production and circulation that they had not previously occupied in the Brazilian cultural scene (for social, linguistic, and cultural reasons, but also political and juridical) and discusses how this process has provoked a vigorous movement of dilation of traditional textual and discursive borders in Western culture. Texts deriving from indigenous peoples in the sphere of academic discourse are, in general, bilingual, and are structured in ways that combine aspects of intellectual production with those of artistic creation. Moreover, they are also structured around a rather complex conception of the notion of authorship (considering that they are written by an author but represent the voice of their people). As examples, the article analyzes the case of Os cantos tradicionais Ye'kwana [Traditional Ye'kwana Chants ], by the indigenous teacher and researcher Fernando Ye'kwana Gimenes, winner of the 2020/2021 edition of the Dirce Cortes Riedel Masters Dissertation Award by the Brazilian Association of Comparative Literature, as a typical example of the cultural phenomenon discussed. The traditional Ye'kwana chants present significant transgressions in relation to the traditional notions of narrative logic and the dominant forms of narration in the fields of literature and history. The awarding of this academic prize to an indigenous inhabitant of the forest, on the border between Brazil and Venezuela, by the largest association of comparative literature in Latin America, in addition to being an important act in political terms, demonstrates how urgent it is to rethink processes of global literary dissemination beyond the restricted frameworks configured by the logic of hegemonic cultures, which are based on closed divisions and hierarchies. With this, we intend to contribute to the process of including Amerindian texts in the repertoire of Comparative Literature and World Literature. [ABSTRACT FROM AUTHOR]

In 1935, as Europe witnessed the rise of fascism, Paul Valéry tried to identify the origins of the crisis in a lecture titled "Le bilan de l'intelligence." Things were better, he claimed, when people were able to understand their present moment as the result of past events—that is, when "continuity reigned in the minds." In this article, I discuss why that sense of continuity with the past is, in fact, indispensable for individuals and societies alike; using instances from great works of fiction, ranging from Don Quixote to the novels of Toni Morrison and Abdulrazak Gurnah, I suggest that fiction—the literary imagination of the historical past—might be uniquely adept at restoring continuity when it is broken. [ABSTRACT FROM AUTHOR]

Ezra Pound was preoccupied with both time and space. But he developed a spatial poetics in order to transform experiences of time into intense moments of relationality and supra-historical awareness. His earlier discovery of a "method of Luminous Detail" was further confirmed by Ernest Fenollosa's theory of the ideogram. What interested Pound was the superposition of historical and cultural meanings in the present, or, more precisely, in the textual present of the Cantos. It is not that Pound wanted to suppress time; superposition is for him simply the mode of being in the present, which is compounded into the same process of transmission, mediation, translation, and rewriting. Pound's ideograms slow down the monolinear movement of narrative to allow more complex patterns of awareness and modes of interaction to emerge among the images, facts, and details of a given Cantos sequence. [ABSTRACT FROM AUTHOR]

The article discusses the historical novel "Ledfeather," by Stephen Graham Jones, noting that the epistolary novel is based on letters written by an Indian agent to his wife regarding the Starvation Winter of 1883-1884 suffered by the Piegan peoples as a result of the U.S. Army eating their rations. Topics include the interrelationship between the novel and historical sources of Indian agents' writings, reasons for the starvation and death of the Piegan, and the historiography of marginalized peoples.

The article discusses the Arabic novel "Cities of Salt," by Abdelrahman Munif (b.1933–d. 2004), translated into English by Peter Theroux, the first novel in a series of four books with the overarching title "Cities of Salt." The novel relays the discovery of oil in Saudi Arabia in the 1930s and how the oil industry rapidly changed Saudi society in a postmodern fashion. It compares the fictionalized account with the history of such events including American-Saudi relations.

In La gran sultana doña Catalina de Oviedo (1615), Miguel de Cervantes presents an implausible story line in which the Ottoman sultan offers Spanish captive Catalina de Oviedo autonomy and imperial authority in return for her hand in marriage. Although she remains physically confined to the harem of Constantinople, Catalina negotiates the conditions of his proposal in order to preserve the signifiers of her Spanish identity. Although critics have long debated the historicity of the drama, recent scholarship has clarified the play’s historical indebtedness. The present essay examines precisely how and why Cervantes turns to history, both in terms of the space of the harem and the women within, as a means to avenge his own captivity. Through the unlikely figure of Catalina, Cervantes is able to both re-dress and redress the captive experience as he simultaneously rejects and reconciles his own afflicted past. [ABSTRACT FROM AUTHOR]

The present issue of the Secretary is the second one this year and contains, among other things, the written versions of lectures that were given at the meetings of the Working Group Literature and History of Herpetology and Terrarium Studies in the German Society for Herpetology and Terrarium Studies. Other contributions are also published. The issue includes the presentation by Dr. Hans J. Jacobs on Heinrich Christian Macklot and the Natuurkundige Commissie in Dutch East Indies. A special contribution comes from Dr. h. c. René Honegger with the title "From Dragon to Crocodile". The LGHT meeting at the Frankfurt Zoo was a successful and well-attended double event. There were interesting lectures and a social gathering. The next LGHT conference will take place at the Allwetterzoo Münster. [Extracted from the article]

A good man is a loyal citizen in any country. A country needs good people -- good citizens, for, its name and fame, prosperity and welfare. It is believed that education will make youngsters (since they are the builders of Future India or Future Australia, they are the pillars of any country). The way in which they are brought by the family should be taken care of. Also equally important is the way in which the society rears them up. So both familial and society roles are important. Above all, the writings of a country, in a country, by the country also decide the welfare of a country! If the writings are appreciable and good, we can expect positive happenings and results. If it is in the opposite way, the results will be negative only. So literature not only reflects the society; but also shapes the society admirably and amicably. Literature has a very special duty of inculcating one's own country's culture, values, ethics and justice to its citizens. Writer's main aim should be to maintain these four in a balanced state. Whether the poets/essayists/novelists/dramatists are in Australia or India they should have faith in those aspects. As India has her unique features, Australia too has its own. Poets mostly delineate their country's speciality in their poems. They are the finest record for ever -- History and Literature (poetry) since they are sisters! Is it not the first duty of a poet to make better the society in which he or she lives? Civilisation is an unforgettable aspect. Poets have to play their role best in safeguarding it. How do Australian poets A. D. Hope, James McAuley and George Essex Evans consider Australia in their poems is the study of this paper. [ABSTRACT FROM AUTHOR]

This article presents some recent trends in French historiography that concern the relationship between history and literature. Among the recent developments are "experiments" carried out by a few historians, which are characterized by an explicit determination to focus on narrative, along with a willingness to share one's own historical subjectivity. By going through some of the examples from this approach, this article highlights how these literary reflexes make important contributions. However, it also points out the weakness of this proposed method of making history on epistemological grounds. That is, it abandons the form of historical writing that requires distance and an appreciation that history's vocation is to propose solid but uncertain propositions (to paraphrase Zemon Davis). By insisting on emotional and sensitive understanding, the knowledge gained from these experiments only questions the scientific aspects of history and history itself. This recent trend is not exactly new, as it evidently links up with some of the consequences generated by the linguistic turn. [ABSTRACT FROM AUTHOR]

This essay argues that the British delegation's distinctive approach to the Reformed doctrine of perseverance at the Synod of Dort provides necessary context for two international sermons delivered by John Donne in 1619. Donne's rhetoric in these sermons, in turn, is echoed by a striking dramatization of international "current events" performed in the same year by the King's Men at the Globe Theatre. Reading John Donne's sermons at Heidelberg and the Hague alongside John Fletcher and Philip Massinger's collaborative The Tragedy of Sir John Van Olden Barnavelt, this essay demonstrates that James I's delegates at Dort, his European embassy's star preacher, and a popular London play present a richly nuanced yet harmonious public face on an international stage to an often contentious national conversation. King, church, and people speak together on the necessity of persevering in faith (within the established church), in fidelity to God-ordained civil government, and with loyalty to the European Protestant cause held in tension with a "Britain first" national exceptionalism. [ABSTRACT FROM AUTHOR]

This article investigates writing about the Passion in late sixteenth- and early seventeenth-century England. It examines the sermons preached on Good Friday by Lancelot Andrewes (1555 – 1626). Like many Protestants, Andrewes hoped to minimize the idolatrous potential of the Passion. Rather than problematizing the sensuality of the Crucifixion, however, Andrewes's sermons cultivate an interpretive disposition that can read it correctly. Drawing on Bernardine and Augustinian models, he treats the attention of his listeners as a vital resource for negotiating the outward materiality of the Crucifixion: reading the Passion "with due attention" reveals through its carnality an eternal message of divine love and integrates it within a broader pattern of scriptural reading. Andrewes's openness to the roles of mental and ocular sight in worship commits him to explaining how outward surfaces reveal inner truths. His theorization of attention in these sermons sheds new light on post-Reformation readings of the Passion's iconography. [ABSTRACT FROM AUTHOR]

This essay reads The Book of Margery Kempe alongside the morality plays of the Macro manuscript — The Castle of Perseverance, Wisdom, and Mankind — to argue that the Book shares important features with them. Kempe's documentary mission relies on morality play formulas and themes, which imply her participation in the flourishing dramatic culture found in early fifteenth-century East Anglia prior to the scripting of the region's famous plays. The evidence presented in the sole surviving manuscript of the Book offers insight into how Kempe's eventual readers, the Carthusians of Mount Grace Priory, both understood and valued the performative and interactive nature of her text for their own acts of readerly performance. Although other work has drawn attention to Kempe's dramatic impulses, viewing the Book itself as a remnant of performance demonstrates the importance of interrogating where and how the traces of premodern performance can be located beyond the textual archive. [ABSTRACT FROM AUTHOR]

Three manuscript copies of John Gower's Vox Clamantis contain large frontispiece images of a fashionable archer shooting at a suspended globe, headed by the short poem "Ad mundum mitto mea iacula, dumque sagitto." The text-image ensemble aligns with Gower's ethical and rhetorical imperatives and was likely designed to idealize his posture as a social satirist and sum up the ambitions of his life's work. This essay adds another dimension to understanding this memorial image, reading the archer through a technical figure of mathematical astronomy. Seeing in the illustration a silhouette of an elementary chord diagram, the essay argues that Gower's archer imagery presents an allusive visual emblem, positioning himself in an elevated sphere with broader implications for the integration of medieval poetic and scientific disciplines. Representational strategies common to the arts show their dependence on conceptual models, graphical interfaces, and technical objects commensurate to the described world. [ABSTRACT FROM AUTHOR]

This essay applies the concept of postimperial melancholia, taken from the work of Paul Gilroy, to describe the affective undercurrents of medieval text editing in the latter half of the twentieth century and the first decades of the twenty-first through an example from Beowulf. The discussion is focalized through the emendations to line 1382a, where an ambiguous series of minims leads to different editorial choices in Klaeber's first three editions of the poem, in his second supplement to the third edition, in the fourth edition produced by R. D. Fulk, Robert D. Bjork, and John D. Niles, and in Kevin Kiernan's Electronic Beowulf. The emendation proposed by Klaeber in his second supplement is imbricated in the shameful history of Old English studies and the project of constructing legendary origins for whiteness. Kiernan and the fourth edition editors each reject Klaeber's reading without addressing this history, focusing attention instead on technological and methodological interventions that produce other readings which are then represented alongside Klaeber's. The result is representative of how the closed and nonrecuperative temporality of melancholia is manifest in the principal development of postwar medieval text editing more generally, which is the abandonment of the notion that scholarly interventions constitute progress toward a better representation of a text, in favor of imagining them as expansions of a spatialized critical field around nodes of dissent. The essay concludes that the best way forward for the field is to recognize its melancholia and its causes, so that it might contribute to more productive futures. [ABSTRACT FROM AUTHOR]

In this brief interview, the French historian Roger Chartier (Lyon, 1945) covers a series of concepts related to three of the major areas to which he has devoted most of his academic work over the last four decades. The first deals with the figure of the author and in it a conceptual arc is authenticated that goes from new technologies applied to literary production and changes in authorial models to a return to the classics. The second axis focuses on the book as a support for texts and is an attempt to cover the different materialities of said object (physical, electronic or audiobook books). The third axis, in this case a single broad question, reflects the relationships between the historiographical and literary sciences, how they intersect, and ways to approach the historicity of texts. [ABSTRACT FROM AUTHOR]

Every pandemic transcends the clinical to become a multifaceted, profound phenomenon with multiple points for the cultural study of its connotations. Above all, its millennia-old description stands out from two representative instruments of reality: history and literature, whose relationship and in-depth analysis reveal valuable syntheses to qualify the pandemic from multiple points of articulation. This research aims to analyze these relations between the history and literature of the pandemic, highlighting two realities for the phenomenon: a material one, related to the epidemiological, productive and political, and a symbolic one, related to the ontological, philosophical and existential. We chose Thucydides' account of the plague in Athens to substantiate this study. This is because of its use as a model for understanding the pandemic in literature and history. [ABSTRACT FROM AUTHOR]

This article features about various contributors and provides information about their backgrounds and interests in literature and related fields.

The crux at Thucydides 4.121.1 has recently come under renewed scrutiny from scholars, but decisive conclusions were not reached. This article argues that commentators have not yet taken into account all relevant considerations, and that as a result the passage still remains incompletely understood. The verb προσήρχοντο is derived from προσέρχομαι , not προσάρχομαι. The unusual imperfect form προσήρχοντο (instead of expected Attic προσῇσαν) can perhaps be regarded as an instance of poetic verbal inflection (compare Pi. O. 9.93 διήρχετο), a type of diction suitable in the context of Thucydides' heroic-poetic depiction of Brasidas. Modern scholars' focus on the textual criticism of this one word has in general caused them to neglect matters of verbal interpretation. As a consequence, some important aspects of Thucydides' language and the cultural context of the scene remain underappreciated. [ABSTRACT FROM AUTHOR]

The article presents a review of the first volume of the work "History of Literature in Mexico. 16th to 18th Centuries" coordinated by Jessica C. Locke, Ana Castaño, and Jorge Gutiérrez Reyna. It highlights the difference in the number of books published by UNAM compared to the first printing press in New Spain. It describes the content of the first volume, which addresses the first century of New Spanish literature and presents Spanish literate characters such as the conqueror, the evangelizer, and the humanist. It also mentions the publication of the Mexicáyotl Chronicle and the epic poem Bernardo de Balbuena as important milestones in the history of New Spanish literature. The book seeks to include and relate different literary manifestations of the 16th century from multiple study perspectives. [Extracted from the article]

William Godwin's history writing and Oliver Goldsmith's poetry are used to explore the visual turn in history writing and the historian's project of "rescuing" the poor and dispossessed of the past. [ABSTRACT FROM AUTHOR]

This article is an interdisciplinary study of berserks which goes beyond the myths, placing much emphasis on textual analyses and some on archaeology. It appears that the popular image of the axe-wielding, mushroomeating berserk warrior of the Viking Age is due to a confusion of facts and fiction from Old Norse prose but also a misattribution of the term in legal texts. The article also integrates battlefield archaeology, discussing whether berserks formed actual military units or not, and explores the etymology behind the word. [ABSTRACT FROM AUTHOR]

Alejo Carpentier is a writer who handles a huge volume of intellectual and cultural nature, due to his exquisite competence in subjects as different as music, architecture, history, philosophy, anthropology, art and literature. Thanks to his polished education from childhood and the endless curiosity and capacity to wonder about the cultural phenomena that affect the transatlantic field, his novels are constantly nourished by intertextualities, quotes, reflections on history, art or music, which are combined adequately with its critical, social, political and formal purposes. But this erudition, typical of the presence of the baroque in his work, also causes the author to intrude on many occasions in the narrative, undoubtedly marking his presence in some characters, almost always protagonists, and in the narrators of his works, for what the distance between author and narrator or characters is sometimes narrowed to almost imperceptible limits. This occurs especially when certain historical figures combine negative attitudes that are the object of criticism, with admirable characteristics, related to knowledge, culture and sensitivity for art, such as the dictator of El recurso del método, who is rejected for his tyrannical tendencies while being admired for his musical, historical and artistic knowledge. [ABSTRACT FROM AUTHOR]

This essay juxtaposes two stories of Indigenous-settler "first contact" in the twenty-first century. One describes an event of community-based research in coastal Maine in summer 2000; the other describes an event of community-based confrontation at the Serpent Mound earthworks site in Ohio on the winter solstice 2020. The stories overlap and intersect in surprising ways, and they prompt unresolved questions about the function of "American" literary criticism at the present time: What actually happens when Indigenous voices enter the structures of the settler academy? Who benefits, and whose interests are ultimately served? Within current conventions, is it possible to center Indigenous knowledges and research agendas, to address the pressing concerns of Indigenous communities? And what does it mean to pursue scholarship ostensibly focused on aspects of Indigenous cultures within social and political contexts that continue to allow or even to promote the settler erasure of Indigenous claims—not only to distant or recent histories but to ongoing presence? Is it enough for academic institutions to assume a neutral stance on such issues? Or are "Americanist" scholars obligated to pursue more rigorous forms of disrupting settler business as usual? [ABSTRACT FROM AUTHOR]

The article presents the author's views on teaching the film "Black Panther" as the text of the year, which included students' capacity to infuse deep understandings of history with a new understanding of film as literature. The students are encouraged to look beyond the literary canon to find heroes in real life, in a digital and visual world.

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An interview with Roger Chartier, historian, is presented. Topics discussed include semiotic approach to text analysis refers to the meaning of works almost exclusively for the impersonal functioning of language; example that addresses the relationships between history and literature and Immanuel Kant, who had already formulated this question as well and had answered it by means of a distinction between the book as a product of a mechanical art.

Copyright of Doitsu Bungaku is the property of Iudicium Verlag GmbH 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 considers the writings by, and about, eighteenth-century English intellectual Samuel Johnson to explore his views on history. Works considered include Thomas Babington Macaulay's 1831 review of "The Life of Samuel Johnson," by James Boswell, edited by John Wilson Croker, the "Annals of Scotland," by David Dalrymple, Lord Hailes and "Roman History" by Oliver Goldsmith. Topics considered include chronology, almanacs, and historians David Hume, William Robertson, and Edward Gibbon.

A literary criticism of the historical novel "Memories of the Ford Administration" by John Updike is presented. An overview of the book's plot is presented. It explores the biographical details of U.S. President James Buchanan found in the book. Updike's attitudes towards writing and interviewing are explored. Topics include historians in literature, Updike's play "Buchanan Dying," and the interrelationship between history, literary studies, and literature.

This essay explores some of the angles of the ancient and complex relationship between History and Literature, with special attention on the episode of persecution and harassment of the Chinese community in Mexico, particularly in the northern region. Some of the texts that have been concerned with telling these events are reviewed, despite the willingness to keep them hidden and silenced; this examination is intended to explain the historical substrate that beats in Inés Arredondo's short-story "The Silent Words", the subject of analysis of the article. I use the notions of metaphor and ambiguity to try to explain how literary creation proceeds with the materials provided by history and how it builds an artistic image and a sense of recreated facts, always in adjoining and dialogue with the procedures of historiographical discipline. [ABSTRACT FROM AUTHOR]

With the aim of visualizing the relationship between history and literature, three historical short novels by three representative writers of the Lateran Academy are analyzed, "Netzula" (1837), by José María Lacunza,"El inquisidor de México" (1838), by José Joaquín Pesado, and "La esposa del insurgente" (1844), by Manuel Payno. This review allows us to understand the first attempts that were made in Mexico in the subgenre of the historical novel between 1837 and 1845, main formative period of writers in the first half of the 19th century, based on the three most important themes that were addressed then, as well as the individual strategies of each author, the Conquest, the Colony and the Independence of Mexico, through anachronism, the search for verisimilitude and demystification, respectively. [ABSTRACT FROM AUTHOR]

Copyright of Procesos Historicos is the property of Universidad de Los Andes (Venezuela) 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 Études Françaises is the property of Presses de l'Universite de Montreal 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 concept of "literary shade," emphasizing the desire to publish impactful works that critique and challenge the dominant narratives shaped by cisgender, white supremacist and misogynistic influences in literature and history.

This article explores the use of a colonial object (a novel) and generally perceived to be colonial practices (such as empirical historiography, the critical study of literature and literary theory) as tools in the ongoing process of decolonising South African minds. Using the magic realist South African novel The Long Silence of Mario Salviati (Etienne van Heerden) as a case study, with particular reference to the history of the Italian prisoners of war (POWs) that were detained in South Africa during World War II (WWII), the article investigates knowledge production through magic realist fiction and attempts to explain how the correlations and tensions between magic realist fiction and empirical historiography contribute to knowledge production and preservation on a broader metatextual level. The article aims to show how pieces of history that may be lost in the ideologically and politically driven decolonisation of history books and curricula may survive through fiction, and perhaps even serve as an effective, albeit subtle, tool for a way to decolonise the mind by creatively using instead of discarding pieces of history, objects and practices with colonial origins. [ABSTRACT FROM AUTHOR]

This article considers the socio-cultural problems of Venezuela, and by extension of Hispanic America, regarding the unfinished historical process of building cultural identities beyond European determinisms, mythical legends or utopias about the American being. We will address the singularity of Latin American literature, in its representation of the place of American speech, in relation with the overlap between Literature and History. We will draw from theoretical-critical contributions by Picón Salas, Fernández Retamar, Lezama Lima and Cornejo Polar. [ABSTRACT FROM AUTHOR]

El articulo analiza triple relación el trabajo literario del autor español Benito Pérez Galdós con el enfoque de la historia contemporánea y la literatura.

Pérez Galdós’s Literature as a historical source offers new horizons of understanding, expansion and deepening. Trafalgar (1873) reveals environments, biographical characters and emotions, not only the facts. The story as communication unites epic and lyrical and leads us to a new research method. As Jacques Le Goff put it, there is an external and an internal history, a psychological history, a motor that activates the individual and collective events that make up the historiology of which Ortega spoke or the anthropological-historical method according to Caro Baroja and Morales Moya. Trafalgar is the example of a transcendental fact, myth and symbol of a defeat, which opens the Galdosian story and memory of this contemporary history. Concepts such as heroism, homeland, honor, decadence in that transition from the old to the new regime make it essential, from that little-known double perspective. [ABSTRACT FROM AUTHOR]

This article will analyze the work of Benito Pérez Galdós adapted to national and foreign cinema from the origins of the cinema to the present day. Likewise, it also reflects on the influence of the man of letters in the personal work of Luis Buñuel, especially in those films based on his works. This tour also intends to link Galdós's incidence in cinematography with the evolution of Spanish history. Thus, in the following pages, reference is made to the presence and absence of his adapted works in the different stages of the history of cinema and their relationship with different political circumstances. [ABSTRACT FROM AUTHOR]

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

The author considers 921 working class autobiographical accounts with themes of motherhood in Britain for authors living between 1750 and 1906 to consider the roles of mothers and other family members in raising children. It considers the importance of mothers by comparing accounts of families with mothers to those growing up in households with an absence of a mother.

The large number of poems produced by Ottoman male elite testifies to the fact that composing and reading literary works were central to their lives. Ottoman literary production was male-centered, an aspect yet to be interrogated in historical and literary studies. This aspect points to the role of entangled nodes of gender and sexuality in Ottoman historical and literary studies. Through brief observations about scholarship on gender and sexuality, this essay provides a close reading exercise on two premodern verse-romances and identifies the function of literature in Ottoman Turkish, beyond its aesthetic dimension, as a means of expression for elite Ottoman men's dreams and fantasies. [ABSTRACT FROM AUTHOR]

The article focuses on the history of narrative historical writing, particularly the works of writers Paul de Rapin de Thoyras and Thomas Salmon. The author discusses the historical continuity and discontinuity within the works, explores how historical change impacted English history, and examines the differences in stylistic patterns of writing between members of the British political parties Whigs and Tories.

What is the so-called "Irish dimension" in Wilde's The Picture of Dorian Gray ? This article evaluates three recent searches for Irish meanings in novel and situates the authors' methodologies within a broader debate about intersections between contemporary literary-critical techniques and the post-truth era. The argument here is that allegorizing interpretation, which treats literary texts as if they were parables about their historical contexts, obstructs not only the accurate identification of The Picture of Dorian Gray 's "Irish dimension[s]" but also the methodological and pedagogical strategies needed to dispel the inadvertent replication of post-truth techniques in current Wildean scholarship. [97 words] [ABSTRACT FROM AUTHOR]

The article offers information on the literary-historical relationship between "The Abbess of Castro" (The Abbess of Castro) book by Stendhal and Jun'ichirō Tanizaki's "Yoshino kuzu" (Arrowroot). It further discusses the goal of resolving the past mystery through travel; the disparity between Tsumura's successful matrimonial narrative and the narrator's own failure to produce a literary counterpart; and a matriarchal utopia and nostalgic mother love.