Search

This article examines the use of literary fiction as a source of data for analysing linguistic patterns in social contexts. By highlighting two interconnected methodological challenges in sociolinguistic studies of literary fiction, this study aims to foster interdisciplinary dialogue on study designs and methods. Building on previous unresolved discussions, it is argued that, firstly, studies that are limited to identifying a fictional text’s mimetic function and drawing real-world-related conclusions from that text risk circular reasoning, thereby contributing little new knowledge. Secondly, the structural unreliability and ambiguity of fictional dialogue often make it problematic to incorporate into sociolinguistic analyses unless its specific conditions are considered. Using scholarly articles as examples, the discussion addresses these challenges to better integrate literary studies and sociolinguistics. [ABSTRACT FROM AUTHOR]

This essay ponders on reading based on Jogo de Cena. Following a perspective built on the Literary Studies field, three objectives are established: (1) examine the literary aspect of the film in simultaneity to its commodity character; (2) search for an understanding of how fiction and nonfiction are disposed in Coutinho's film; and (3) approach what could be understood as transparent and opaque in that work. Attaining those goals is a manner of approaching an issue related to the apparent waning of the distinction between fiction and nonfiction caused by media, to the impoverishment of fiction in literature, and its spread in daily life. This discussion searches for contributions to cinema, theater, and literature studies. It involves reviewing publications on that film, a description of the work, and some theoretical references from the fields mentioned previously, including the formalist notion of literariness related to the presence of narrative, dramatic, and poetic elements in works beyond literature. Starting with a close reading of that descriptive study and the selection of excerpts from the film, a discussion confronts the analysis with some bibliographical sources. The results are as follows: (1) it is not possible to categorize Jogo de Cena in terms of being just a commodity or an artistic work; (2) reading narratives should consider the simultaneity of fiction and nonfiction; (3) apparent transparency takes the reader directly outward the work while its opacity, endowed with literariness, plunges the reader in the materiality of the film where historicity is present among the work, the author, the reader, and the world. Therefore, the notion of reading is rethought to face current configurations of cinematographic and literary works. [ABSTRACT FROM AUTHOR]

Copyright of Foreign Language & Literature Research is the property of Central China Normal 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.)

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association 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 Interdisciplinary Studies of Literature is the property of Interdisciplinary Studies of Literature 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.)

This article situates Amitav Ghosh—as both critic and novelist—in relation to the contemporary genre turn, as a means of questioning the logical distinctions undergirding ideas of literariness. Readers of Ghosh tend to cast the overtly science‐fictional The Calcutta Chromosome: A Novel of Fevers, Delirium and Discovery as a generic anomaly in his otherwise historical realist oeuvre. Against such automatic delineations, this article argues that Ghosh's 1995 work is not such an outlier when we break down the multiple genres at play within novels across his career, and how their interactions produce effects that have been mistakenly attributed to one or other isolated genre. In The Calcutta Chromosome and the Ibis trilogy (case studies that seem generically distant), critical representations of globalization are developed through recourse to speculative genre frames for archival contents, with the effect of estranging historical continuity, collectivity, and narrative conventions. Attending to ambivalent deployments of genre allows for more precise identification of how contemporary novels formally construct and confuse their own world‐building effects, and how critics categorize texts and attribute political‐critical impact to them. [ABSTRACT FROM AUTHOR]

After Blossoms (《繁花》) won the Mao Dun Literature Prize, there were two prominent voices among readers. Some readers believed that using Shanghai dialect, a presentative of Wu Chiese, created noticeable regional characteristics and artistic charm in Blossoms. Another group of readers expressed that the dialect text of Blossoms was obscure in language and trivial in structure, so it was low in aesthetic value. These two voices reflected the primary responses of the Blossoms readers. Textual analysis reveals that using defamiliarization techniques in the form of local knowledge is the main reason for this phenomenon. Defamiliarization theory can explain the way Blossoms describes the urban experience in Shanghai and the aesthetic effects it produces. In contrast, reception theory can respond to the reasons for the divergence in the aesthetic preferences of the readers. This study provides a framework for understanding the creation and reception of dialect and regional literature.

This research paper is based on a conception of "literariness" in heritage, as a product of the mechanisms upon which the art of writing autobiographies in Arabic literature is based, searching for its foundational roots in the depths. Looking for the reason for its continuation and preservation, as a genre of ancient and renewed literary genres and an important spatial text in the literary and social life. It is open to more than one reading; it has undergone some transformations and developments throughout the ages with the aim of searching for excellence in two literary works - Kitab Alawraq: by Abu Bakr Al-Souli (335 AH), Mathaq Alsabr by Muhammad Eid Al-Araimi (1954 AD), analyzing their private memoirs, with which they penetrated the stable cultural pattern, revealing what they combine and distinguish themselves with, whether in the form of the covert translation of Al-Souli. In which the pleasure of remembering represents a translation of the state of power and wealth. There is connection to the space of higher authority, in addition to that, writing the autobiography is a subject of pride for Al-Souli. It represents an outlet for the psychological source from the state of lack and brokenness, or being a narrative vision that the writer transferred from its realistic structure, in which sadness and despair dominate the self, to a new imaginative artistic structure. This structure is rich in cultural heritage and symbolic production, filled with optimism and bright aspects of life. In both cases is considered a basis for re-reading the news in the light of authenticity and modernity. [ABSTRACT FROM AUTHOR]

Comparative literature in Taiwan flourished in the 1970s, focusing on the comparison of classical Chinese and Western literary classics. In the 1990s, this focus shifted to theory-based research centered on local sociopolitical issues. The literariness of actual comparisons and appreciation of literary works suffered as a result of this shift. The high level of specialization in the present academic system hinders interdisciplinary research, and, in this vein, translation studies has come to question the value of comparative literature. The resurgence of world literature has opened up new possibilities and repivoted attention back toward literariness and translation of texts away from the focus on contentious ideological issues. From the perspective of a Sinosphere with multiple literary centers, comparatists in Taiwan have an opportunity to leverage their diverse and rich cultural resources for the fostering of literary dialogues. Such discourse can connect literary works worldwide, and in the process revive the momentum of a discipline that promotes cross-cultural understanding and profound appreciation for the diversity of human civilizations. [ABSTRACT FROM AUTHOR]

This article investigates institutional forces that maintain the focus on canonical authors in Middle English studies, despite the ubiquity of anonymity in the Middle English corpus, and despite the extensive critique of the canon that the field has witnessed. It provides a snapshot of the current Middle English canon, surveys publication patterns in sample academic journals in the twenty-first century, examines the ways authorship serves (and anonymity does not) as a critical tool, and shows what anonymous texts might offer to the ongoing assessment of the literariness of Middle English texts. Analysis of the scholarship of two Middle English scholars over the first two decades of the current century demonstrates the challenges and opportunities in developing methods that discern the literariness of anonymous, non-canonical texts. Work in New Formalism and object studies offers possibilities for recognising the literariness of anonymous texts not traditionally considered in terms of their aesthetic or formal features. [ABSTRACT FROM AUTHOR]

Research findings in cognitive literary studies show that lifetime exposure to literary versus popular fiction has a differential association with social cognition processes such as psychological essentialism, attributional complexity, and, particularly, with Theory of Mind. Experimental findings further show that brief exposure to literary, but not popular fiction, boosts performance on Theory of Mind. These results are interpreted as stemming from the greater complexity of the characters and plots of literary fiction; a claim that is consistent with evidence that readers view literary fiction characters as more complex than popular fiction characters. Here we focus on style, and test whether said differential complexity finds a parallel in the language of these two types of fiction. Results of Natural Language Processing analyses on a corpus of literary and popular fiction texts confirm that literary fiction has greater lexical and syntax complexity than popular fiction. [ABSTRACT FROM AUTHOR]

Copyright of Signa is the property of Editorial UNED 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.)

Language and literature, or linguistics and literary education, in the Italian context, in the history of foreign language didactics, are very closely linked. If one takes a closer look at the Italian school system, using the example of German as a foreign language, a complex and varied situation can be observed. What is specific about a literature-oriented lesson in German as a foreign language and how can it be scientifically founded? This is a question, which was asked in the scientific debate in the German-speaking world, by many linguists and literary scholars in the 1970s and 1980s and it still seems to be unanswered in the Italian school context today. Although new perspectives have been opened up with the volume accompanying the European Framework of Reference for Languages, published in 2020, the discussion on the role of literary education and the importance of literatureoriented teaching still remains an open question and encourages the discovery of new research paths.

As a promoter of the literature of Taiwan's Indigenous peoples, our most important task is to foster a relatively open and relaxed environment to encourage our people to continue and perpetuate their interest and vitality in "creative writing." The purpose of this essay, by focusing on the aspect of "creative writing" and based on actual practice, is to raise several controversial issues that can influence writing for consideration. First, we deal with the strategic question of the choice of "language" that Indigenous literary creation must face; second, we examine the problem of "literariness" and "realness" in Indigenous literary creation; finally, we clearly pinpoint the distance between tribal and national imagination, in order to prevent Indigenous literature from being kidnapped by the so-called "national identity" in contemporary Taiwan. [ABSTRACT FROM AUTHOR]

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan 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.)

To analyse literary psycho-criticism and socio-criticism not as a total and coherent set of critical theories but as macro-visions that encompass two sensibilities for the categorisation of the text into literary and non-literary is the premise of the research. The methodology is based on an approach to psychoanalysis as literary criticism, the former as a study of configuring interiority, the product of unresolved tensions, and the latter as an expression of productive relations determined in a specific space-time unit. The findings lead to discovering, explaining and reflecting on literary criticism based on materiality (subject-context relations), the result not of immanent properties of the text but of interrelations at multiple levels of textual and contextual articulation between literature and external properties. [ABSTRACT FROM AUTHOR]

This article focuses on Lídia Jorge's first two novels, O dia dos prodígios (The Day of Prodigies) and O cais das merendas (Picnic Quay), as anti-realist allegories that challenge the consensus vision of a free and equal "people", encouraged by propaganda, celebrating the Portuguese Revolution of 25 April 1974. Following Jacques Rancière's philosophical insights on literariness and democracy, each of the novels is analyzed in relation to an equivocal, misunderstood process of democratization that continues to exclude and ignore "the part of those who do not count" in the theoretical equality of all citizens in a given regime. Specifically, the analysis sheds light on what Prime Minister Maria de Lourdes Pintasilgo once called "the small revolutions" of anonymous common people who, rather than submit to an equality that shuts them out, perform theatrical, political acts of disagreement calling attention to themselves as human subjects of social injustices or wrongs. Specific attention is given to the geo-cultural location and the economic configuration of the communities fictionalized in each novel, dramatizing different stages of the so-called transition to democracy. Jorge's complex texts provoke us to "see" history otherwise, according to the experience of a "people" confined to a coastal fringe of land who are undergoing a violent but unavoidable transformation from a rural subsistence economy to a capitalist market economy dependent on foreign investments and a liberal multi-party democracy. [ABSTRACT FROM AUTHOR]

The paper explores what a (re)organisation of the existing histories of Bangla literature from Dalit literary perspectives can offer. Towards this end, it examines some of the early questions on the formation of literary standards and how that remained directly connected with caste hierarchies. It turns briefly towards late eighteenth and early nineteenth century Calcutta as a discursive-material site to explore symptomatically how such organising of dominant literary standards works its way through various forms of exclusion. When seen from the perspective of these exclusions, what does the question of Dalit literature offer in transforming the very idea of 'literariness'? Also, what can the vernacular literatures offer in the reception of Dalit literatures in their multiplicity while resisting the tendencies of homogenising their volatility? Addressing such concerns, the paper turns towards a conceptualisation of Bangla Dalit literature as offering a poetics for multiple forms of dwelling. [ABSTRACT FROM AUTHOR]

This essay develops a theory of the literary excerpt, taking as a case study the ways in which James Russell Lowell's 1845 poem "The Present Crisis" has been quoted in public discourse by abolitionists, suffragists, temperance activists, anti-imperialists, and Civil Rights activists including W. E. B. Du Bois and Martin Luther King, Jr. A prominent recent instance is U.S. Senate Chaplain Barry Black's quotation from the poem in his opening prayer for the second impeachment trial of Donald Trump. Tracing these and other histories of excerpting "The Present Crisis," the essay draws on Rhetorical Genre Studies to argue that the literary excerpt is a distinct paraliterary genre, a form of social action that enables two purposes: bringing literary authority to nonliterary domains and participating in a tradition through repetition. Attention to the excerpt genre's pragmatics can thus bring the question of instrumentality (back) to considerations of literariness. [ABSTRACT FROM AUTHOR]

Copyright of Colloquia Germanica Stetinensia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego 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.)

Background: This paper investigates satirical depictions of materialism in John Ruganda’s plays; The Burdens (1972), Black Mamba (1973), The Floods (1980), and Shreds of Tenderness (2001). Although materialism as a theme and satire as a technique is dominant in John Ruganda’s plays, no detailed study has been conducted on these two aspects. The study is based on the Russian Formalism Theory whose basic principles are defamiliarisation, form, and literariness. During the study, various critical works on Ruganda’s plays have been reviewed and these observe that Ruganda has a particular interest in social issues which he successfully addresses using different types of satire more humorously and sarcastically. Methodology: The study used a descriptive research design where a qualitative approach to data collection was used. It was library-based and information was collected by reading closely and analyzing the four selected texts. Results: The study revealed that Ruganda employs Horatian, Juvenalian, and Menipean satires in his plays as he addresses the social, economic, and political problems of society. Conclusion: The conclusion is that what unifies each type of satire is a tendency to use irony, sarcasm, humor, and ridicule to allow a writer to achieve their goals. Recommendations: Were that let there be an investigation into the influence of materialism and its impact on society, analyze the depictions of gender stereotypes, and also to carry out a stylistic study of Ruganda’s four selected plays.

The classic work of Roman Jakobson,“The Newest Russian Poetry. Sketch One. Ap­proaches to Khlebnikov”, is invariably referred to in the works on the history of structuralism, formalism and the history of the methodology of humanities. This article aims to address sev­eral questions: what are the epistemological attitudes of Jakobson and how are they imple­mented in his work? Can this 'disorganised' and 'sketchy' text be interpreted in context of the future attitudes of the scholar? The avant-garde literature of the early twentieth century not only created new methods of text generation but also required a new epistemological approach and a change in the recep­tive perspective. Jakobson's work is one of the first experiments in describing a new aesthetic phenomenon. Analysing language through shifts, Jakobson explores it in a structuralist way. In “The Newest Russian Poetry” the scholar summarises the ideas that became fundamental for him in the 1960s-1970s: the ideas of the teleological nature of poetry, a close connection between mental and language structures, and the relevance of the identification of text struc­ture as a relatively stable set of relations for the analysis of sense-making and text generation. Exploring the concept of literariness, Jakobson reveals a system of universal and interlevel methods of generating poetic speech. These observations have not lost their relevance and can be applied to the analysis of both avant-garde and classical texts.

Over the past two decades, many scholars and practitioners in foreign language teaching have advocated for multiliteracies approaches, which envision language learning as the development of an expanding repertoire of linguistic and other semiotic resources for making meaning. Despite the attention to the role of learners as active designers of meaning inherent in this framework, creative literacy activities such as literary language use and their potential role in language learning remain under‐theorized. Grounded in a study from two collegiate German as a foreign language classes, this article uses a meta‐language for conceptualizing creative literacy activities based on play to show students' complex engagements with literary texts in a beginning language classroom. An analysis of learner compositions from the classes suggests that the playful stance afforded by literariness may enable learners with an opportunity to notice and tinker with elements of design that are often neglected and suggests preliminary connections between design play and the selection of texts and corresponding instructional activities. The Challenge: Multiliteracies frameworks have advocated for understanding language use and learning as active engagement in practices of meaning design, which has spurred a renewed interest in creative literacy activities. But how can scholars, educators, and curriculum developers conceptualize creative language in ways that help them to integrate it in their classrooms and curricula with intentionality? [ABSTRACT FROM AUTHOR]

The article suggests to consider children's literature as an example of liberature. The author refers to the use of this term as popularized by Zenon Fajfer and further developed by Krystyna Zabawa, who compared works of liberature to author's books and picturebooks. The article explains the phenomenon of liberature and examines selected literary works while pointing to their liberature features - Katsumi Komagata's First Look: Beginning for Babies, a volume designed by Emilia Dziubak in the series "Rok w," and One written by Sarah Crossan. Using terms such as multiliterate, intersemioticity, or polysemioticity, the author proves that many children's texts can be described as examples of liberature - even when it is not explicit. [ABSTRACT FROM AUTHOR]

This essay deals with some of the secrets that have been studied and explored for centuries by the science of literature and the sciences of art. The author searches for the logical-philosophical origins of the phenomenon of 'mystery', and discovers them in the sphere of the autotelic properties and anthropocultural functions of literature and art. [ABSTRACT FROM AUTHOR]

The Russian Formal School was active between 1915 and 1930 and represents one of the most influential directions in literary theory. Our intention was to present the main points of action of this school and to revalue some of its postulates as well. Views of members of the Russian Formalism that we analyzed were illustrated by examples from the story "Plod črevo tvojego" by Vidosav Stevanović. Our analysis has shown that the Russian Formalism is much more modern as a literary school than is most commonly thought.

This essay addresses the surprising fact that Charles Brockden Brown wrote poetry, and it considers some of the difficulties readers may encounter with his poems, as a way to encourage EAL 's readership to engage this work seriously. [ABSTRACT FROM AUTHOR]

The concept of theatricality is one of the core notions of theatre studies and the theory of arts. It has been discussed and debated for a long time in Chinese and Western contexts. Drawing on the works of Wang Yuli and others, this article examines the evolution of this concept in the Western context, especially in the second half of the twentieth century. This article provides a comparative review of the definitions of theatricality from different perspectives by Josette Feral, Ragnhild Tronstad, Samuel Weber, etc., which are important but less introduced in Chinese. The most pivotal issue in the concept is the dialectical unification of semiotic methods and autonomic aesthetics. Then this article analyzes the notion in detail on four levels: first, theatricality as the categorical feature of theatre as art; second, theatricality as appeared in other art disciplines; third, theatricality as a notion in relevant humanities; fourth, theatricality as a term to describe the nature of life and society in general. Using these theoretical discussions to analyze the practical problems reflected by the theatrical-literary conflict, I argue that it is inappropriate to prescribe theatricality in literary terms. [ABSTRACT FROM AUTHOR]

Literary Scholarship in the Future: From Canon-Centred Subaltern to Literary-Minded Social Participant Appreciation of literature and literary scholarship has arguably been on the wane in the twenty-first century. In this article, I argue that literary scholarship, in response to this declining interest, needs to be reformed. Literary scholars should continue to study literature from all historical periods, but they need to deal with the conflict between the democratic values of contemporary readers and pre-1968 sexism and racism in literature. This blight on the reading experience cannot be removed by the one-sided measures of historicism or presentism. Rather than marginalizing popular literature, children’s literature, and non-Western literature, scholars should integrate this body of work into the core of literary studies and accord them roughly half of their interest alongside canonized Western literature for adults. Literary scholars should also be prepared to present their teaching curricula as a development of skills that can be used in the processing and evaluation of any kind of text in any kind of employment in a company or a government agency. Furthermore, rather than produce literary readings mainly in terms of content, scholars should highlight the synergy of content and literary qualities such as form, fictionality and generalizability. This will allow them to valorize the enhanced understanding of real-life phenomena offered by literary works in the form of socially useful “applied literary scholarship.” The fields of operation for literary studies should include schools; the training of professionals, such as doctors and economists; and bibliotherapy designed to alleviate anxiety and malaise before it develops into a mental condition requiring treatment in a healthcare system that is already stretched beyond its capacity.

This paper studies an oral epic from the Cameroon's Basaa, translated into French and annotated recently for the first time (2019). Resorting to an interdisciplinary methodology, this research combines contributions from anthropology, stylistics, and literary pragmatics. The reflection attempts to underline the literariness on this epic, which not only brings the fundamental traits commonly accepted as literary ones of the genre, but also lends itself to the theories developed in recent decades within the framework of reception theory. Thus, the work is embedded in the context in which it is stated, and certain sociological and axiological values, typical of the Cameroonian Basaa socioculture are emphasized. [ABSTRACT FROM AUTHOR]

The article scrutinizes the practice of projecting works of poetry on façades in metropolitan spaces based on two cases: an individual event related to Piotr Sommer’s poems during the Conrad Festival (2012) and the actions Jenny Holzer undertook for many years. The article shows the critical potential of “poems made of light” and the dual understanding of their spectacularization: as a commodification of literature and as an experience in which the communal character of the experience comes to the fore. [ABSTRACT FROM AUTHOR]

Textuality is basically a method aimed at analysing the text grammatically based on the criteria of coherence and cohesion. Coherence and cohesion appear as two important elements of textuality. Coherence refers to the relationship between the linguistic elements that make up a text and the order they form while cohesion is aimed at the logical functioning of the text. Since cohesion stems from the semantic integrity formed by many coherent elements, it is evaluated as associated with coherence. It is fairly easy to examine ordinary texts based on the criteria of coherence and cohesion and to make inferences in terms of textuality. However, analysing literary Works, in which fictional language is used and spoken language is mostly abandoned, based on the criteria of textuality is a laborious process that requires referring to different perspectives. First of all, understanding literary work cannot be achieved only by the criteria of textuality as the literary work has a literary feature, which points to its artistic side and is also related to its textual features. To understand the text better, it is essential to reveal the literary feature together with the criteria of textuality. Focusing on the concepts of textuality and literacy, this study examines the story of Hasan Ali Toptaş, Bir Dünyanın Akşam Resmi (The Evening Picture of a World), in the context of textuality and literacy. [ABSTRACT FROM AUTHOR]

This paper reimagines a quintessential literary practice: close reading. The autoethnographic inquiry examines the relationship between a single text and my experience with it as teacher, student, reader and writer: Jennifer Egan's short story "Black Box". In doing so I make a case for the literary as a useful mode for being and teaching in classrooms, and for the literariness of the lives caught up in those classrooms. I examine various properties of the text, including the story's unusual form, the implications of its content and genre, the narrative voice, and the central metaphor of a black box. Reading through these, I consider how the story came to shape my imagination and practice as an English teacher. A final section considers the limitations of such a formalist approach to close reading, exploring how a novel framing of close reading as relational work makes ethical readings (Gallop, 2000) possible. The paper concludes with an analysis of the implications of that approach to reading and advances resonance as a concept of value for English teachers and researchers interested in thinking about the relationship among teachers, students, and texts. [ABSTRACT FROM AUTHOR]

This paper aims to examine the effectiveness of an eclectic approach that involves the integration of Content and Language Integrated learning with technology in teaching literature. Generally, all the subjects are learned in the English language in India, and it is merely teaching the content in a second language, but Content and Language Integrated learning involves learning the language through content and to develop mastery over the content through language. This includes understanding, thinking, developing, and creating cognitive subject matter using the English language. The current trends and developments in English language teaching are designed and focused on the use of technology in language teaching. CLIL is an inclusive teaching methodology which can be adapted to the needs of the learners belong to different cultures and geographical location. The insights from literature and digital technology complement each other and contribute to the development of the field of digital humanities. The recent trends and developments in digital humanities such as digital archives, AR murals, audiobooks, book review forums, online poetry, and drama clubs, and digital literature enabled the dissemination of literary knowledge easier and helps to examine the multiple aspects of the text. When coupled with content-appropriate teaching pedagogy, this can be proved to be an effective teaching-learning methodology for teaching literature. [ABSTRACT FROM AUTHOR]

In some measure, in opposition to the contemporary studies on Chopin's letters emphasising their non-literary character, the aim of this study is to point at the multifaceted literariness of the correspondence of the author of the Revolutionary Etude. One of its crucial aspects would be the intertextual one: Chopin's letters constitute an intriguing community of style, including, above all, the schemes of Fredro-like comedy and Henryk Rzewuski's gawęda szlachecka (nobility tale). The idea of writing in the spirit of disciplined lightness, rigour of formulating thoughts in a casual, colloquial and easy manner, as Wiktor Weintraub put it, affects Chopin's planned skill of self-creation and autothematical procedures, always in similar styles that use humour for the purpose of making thing unusual, or even obscene. The arguments collected in the article force one to withdraw Ryszard Przybylski's conviction about Chopin's epistolography as representing the language "serving life" only outside of literature and literariness. [ABSTRACT FROM AUTHOR]

Copyright of Revue d'Ètudes Proustiennes 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.)

This paper offers a methodological reflection which brings into dialogue some aspects of Gérard Genette’s thought (fictionality, literariness, paratext, the distinction between “closed” and “open” poetics) in Fiction et Diction (1991), Seuils (1987), and “Vraisemblance et motivation” (1969) and medieval French literature, by examining more precisely the problem of the development of a fictional poetics for fabliaux, short narratives composed from the end of the 12th to the beginning of the 14th century. It aims to provide answers to the two following questions: what can Genette do for the fabliaux and in what ways is the participation of medieval literature in modern critical and theoretical works relevant? We foster the combination of “closed” and “open” poetics described by Genette to use a method which preserves the alterity of medieval fictions such as fabliaux and creates new interpretative paths for these texts that researchers have long wanted to read as documentary sources. Medieval literature thus appears less as a screen on which to project modern theories than as a real interlocutor in the still current discussions on fiction.

The purpose of this article is to redefine the category of “contamination”, entrenched in the tradition of literary reportage. Due to the process of genre blurring, the original meaning of the term (the one connected with the presence of creational elements in the reporter’s writings) has now been replaced by a more complex definition. The author creates the hypothesis that the “contamination” of contemporary reportage is caused also by the increase of subjective and emotional factors in journalistic narration. To illustrate this assumption, the article provides an analysis of the book Zapiski na biletach. Written by the Polish reporter Michał Olszewski the book serves as an example of genetic changes of the reportage convention.

In some of the canonical prose texts in Bosniak literature, such as “Tvrđava” by Meša Selimović, ”HodžaStrah” by Derviš Sušić, “Sarajevski nekrologij” by Alija Nametak and “Šehid” ba Zilhad Ključanin,addressing new historical enthusiasm, the form of necrology appears as an appropriate expressive formof legitimising identity continuities (which have been strongly disputed). In criticism, this form hasrightfully marked as a cultural memory act (genre quotation) of metatextual actualisation of MulaMustafa Bašeskija’s “Ljetopis”. His chronicles represent a classic secret writing, even for the authorhimself a highly compromettant and exclusively targeting the generations to come. The witness-writerposition based on that, relieved Bašeskija from the obligatory outreach to general places and conventionalfigures which were legitimised by the then authors through their writing skills. The anticipatory characterand comfort of the free thought within a secret writing reached, as per certain elements, the intimacywith what is marked in European tradition as Bacon’s Revolution, which assumes resistance to hierarchyin which the life of the warrior or the ruler is focused on the ethics of honour or glory, was incomparablewith the lives of “lower class” people and the ethics of dignity.

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies 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.)

Picturebooks were considered the most original and relevant contribution made by children’s literature to canonical literature. This typology promotes creativity and experimentation, combining playfulness with artistic sophistication. For their part, wordless picturebooks, whose narrativity is found exclusively in the sequence of illustrations, bring forth questions as to whether they can be considered literature. Wordless picturebooks challenge traditional theoretical approaches and demand a complementary approach that encompasses all of the book’s elements. The scarce verbal component reinforces the meaning of the content and requires a more detailed reading of the illustrations. Using relevant examples, this paper aims to debate the inclusion of wordless picturebooks in the literary domain, through a reading that encompasses aesthetic criteria, with emphasis on narrativity. [ABSTRACT FROM AUTHOR]