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South Africa has a complex history of racialized (im)mobilities. During the social engineering of apartheid, the city became a racialized white space that was dependent on black migrant workers who were forced to live in the marginal spaces on the edge of the city. This daily commute was enabled through the construction of public transportation systems and commuter railways. This mundane and banal form of mobility became a key site of both repression and resistance during the apartheid era. The present article explores how these racialized railway mobilities were represented during the 'Drum decade' of the 1950s in South Africa. It explores how the short story, as a liminal genre positioned within local and transnational literary cultures, is mobilized to narrate railway mobilities during this transitional decade. Texts analyzed include the news reports and short stories by Can Themba, Es'kia Mphahlele, and Nat Nakasa. This article explores how the mobile public spaces of the railways and the mobile figures of railway passengers were mobilized in the Anglophone South African short story as a form of resistance to the repression of the apartheid era. [ABSTRACT FROM AUTHOR]

AbstractThe present article takes the recurrent motif of trees in Ali Smith’s oeuvre as a point of departure to analyze how Smith forges an alliance between environmental concerns and queerness. It argues that her short stories present their own version of queer ecology on both a conceptual and aesthetic level. Smith queers ecological relations and brings ecological concerns to bear on the queer on multiple scales, continuously disrupting linear narratives, anthropocentric thinking and capitalist imperatives of (re)production and productivity for the benefit of interdepenence, resistance and inter-species care. By means of non-linear storytelling, ambiguous pronouns and shifting narrative perspective she aesthetically and conceptually opens space for queer desires, interspecies care and a cyclical, distinctly ecological view of queer futurity that ultimately extends not just to environmental and social but also cultural relations. [ABSTRACT FROM AUTHOR]

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]

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Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management Journal 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.)

Within Matteo Bandello’s Novelle there is the theme of fear linked to the world of the supernatural: spirits, corpses, cemeteries, as well as the fear of the devil and of the night are the elements that make up the fantastic of the writer. This theme, however, if it mobilizes a whole series of topoi and enactments between the comic and the horrific, variously employed by other sixteenth-century novelists as well (think of Lasca’s Cene), is related to the broader theme of imagination. From the novelle analyzed in this contribution, in fact, it is possible to observe how the fear of the supernatural never has real foundations but arises from and is nurtured by the imaginative faculty of men and women who, blinded by fear, are unable to interpret reality. The writer, therefore, does not hesitate to point out the gap between the fervid imagination of the characters, against whom he points his finger, and a starker reality.

The lack of innovation and variety of media used in the Indonesian language learning process causes a lack of listenin skills for students short stories. This research is shown to create a learning media product in the form of a short story book based on augmented reality which can be effectively used to improve students listening skills. The type of research used is research and development with reference to the ADDIE model with the stages of analyze, design, development, implementation, and evaluation. Subjects for small scale trials of this study used 6 students and on a large scale trial using 31 students. The product validation test was carried out by 1 media expert and 1 material expert. Data collection methods used observation, interviews, and questionnaires. The product effectiveness test used t-test and N-Gain test. The results explain that augmented reality-based storybook learning media is said to be feasible with 91% value achievement from media experts and 89% support from material experts. These results also provide an effectiveness value through the t-test analysis test value Ha is accepted and the N-Gain obtained is ³ 0.70. Thus it can be explained simply that the learning media is feasible and effective to use in learning Indonesian, especially in short story listening skills. The development of this media can be used by teachers to support interesting and fun learning so that it can improve listening skills.

The features of the chronotope in Kazuo Ishiguro’s stories “Crooner” and “Come Rain or Come Shine” are examined. The main attention is paid to the analysis of the features of artistic space and time in the texts. In particular, the features of open and closed, mental and physical spaces are dissected. The metaphorical meanings of some loci in the stories are identified and interpreted. The focus is on how individual images of spaces allow the author to reveal the themes of memory and love that are to be found in Ishiguro’s works quite often. It is stated that the theme of love in the story “Crooner” is characterized by the presence of positive features, which distinguishes this work from other examples of the writer’s prose. This study highlights how music becomes an element of the artistic space of some episodes. It is suggested that this feature enhances the sensory nature of the texts. In addition, it allows the author to introduce intermedial allusions. As a result of the study, it is concluded that the features of the chronotope in the analyzed stories serve to deepen psychologism, reflect the mental state of the characters. It also enriches the presentation of some episodes.

Copyright of Cuaderno de Pedagogia Universitaria is the property of Pontificia Universidad Catolica Madre y Maestra 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 study investigated the integration of artificial intelligence (AI) tools in teaching literature, specifically focusing on short stories. An online survey of literature teachers was used, in which 40 literature teachers from different Saudi universities participated. The survey results indicated that literature teachers recognized the potential benefits of AI tools, including personalized learning experiences and increased student engagement. Teachers believed that AI tools could improve learning outcomes by enhancing students' comprehension of literary techniques and devices. However, the survey also revealed challenges related to teacher training and concerns about the quality of AI-generated content. The study suggests several recommendations, including stakeholder engagement, comprehensive teacher training, ethical guidelines, continuous evaluation of AI tools, and ensuring that AI complements rather than replaces human expertise. The study concludes that AI tools, when implemented thoughtfully and supported by ongoing research, have the potential to enhance short story education by providing customized and engaging learning experiences that enhance interactions between students and texts. [ABSTRACT FROM AUTHOR]

The objective of this study was to determine the effect of the suggestopedia method on students' capacity to retell short tale passages. The research method adopted was quasi-experimental. Students in class IX at Maitreyawira Middle School in Palembang served as the research subjects. The study included two classes: 27 students in the control class and 27 students in the experimental class. The research findings revealed that the average experimental score during the pretest was 65.93, but the average posttest score was 87.85. Meanwhile, the research findings revealed that the control class had an average pretest score of 68.15 and an average posttest score of 80.96. The Independent Samples Test yielded a significance value of 0.000 < 0.05. Thus, Ha claimed that the suggestopedia method influenced students' ability to retell short story texts. [ABSTRACT FROM AUTHOR]

Ernest Hemingway's short stories have been largely analyzed as individual examples of his writing principle of the iceberg. However, Men without Women has received little attention as a short story composite, in which the form and content of the whole and of its individual stories reflect on each other. As relatively new approaches to the short story composite as a genre emerge, it becomes necessary to reread critically these kinds of works. In Men without Women, Hemingway's grouping of the stories into a single work adds a different dimension to themselves: the composite -- in which the stories become utterly interrelated to each other. In this larger iceberg, the postwar crisis of masculinities gains more visibility than in the individual stories, reinforcing the subversion of gender identities subtly present in them. [ABSTRACT FROM AUTHOR]

“I’ve read you right—I’m with you now”: Aesthetic Reading in Virginia Woolf’s Metafictional Short Stories. Despite critical interest in Virginia Woolf’s intense preoccupation with the imaginative process at the root of literary creation, little attention has been paid to the manner in which, through metafiction, the writer turns her short stories into reflections upon the nature of reading. In works such as “An Unwritten Novel” (1921) and “The Lady in the Looking-Glass. A Reflection” (1926), the boundaries between literature and criticism, between fiction and reality, take center stage and it is precisely this point of convergence that metafictional works take as subject matter. Thus, Virginia Woolf’s ‘character-reading’ makes its way into her stories and the author’s critical stance upon the act of reading, revealed primarily in her essays, is now transmitted thematically through characters who appropriate the readers’ active construction of meaning while living in the same textual world inhabited by the fictitious characters they ardently wish to interpret. Through the advancement of a specific type of reading: active, emotive, empathetic, fluid, inquisitive, intimate and indeterminate, yet always close to the text it is engaged with, Virginia Woolf may be said to prefigure the type of transactional reader-response criticism underpinned by Louise Rosenblatt, whose insistence upon aesthetic reading calls for a two-way transmission of meaning that is simultaneously constitutive of the literary work and of the reader’s self. „Te-am citit bine—sunt cu tine acum”: lectură estetică în povestirile metaficționale ale Virginiei Woolf. În ciuda interesului critic față de preocuparea intensă a Virginiei Woolf pentru procesul imaginativ care stă la baza creației literare, s-a acordat puțină atenție modului în care, prin metaficțiune, scriitoarea își transformă povestirile în reflecții asupra naturii lecturii. În opere precum „Un roman nescris” (1921) și „Doamna din oglindă”. O reflecție” (1926), în centrul atenției se află granițele dintre literatură și critică, dintre ficțiune și realitate. Pentru Mark Currie, tocmai acest punct de convergență este subiectul abordat în operele metaficționale. Astfel, ceea ce Virginia Woolf numește „citirea personajului” își face loc în povestirile sale, iar poziția critică a autoarei asupra actului lecturii, dezvăluită în primul rând în eseurile sale, este transmisă tematic prin personaje care își însușesc construcția activă a cititorilor în timp ce trăiesc în aceeași lume textuală populată de personajele fictive pe care doresc cu ardoare să le interpreteze. Prin avansarea unui anumit tip de lectură: activă, emotivă, empatică, fluidă, curioasă, intimă și nedeterminată, dar întotdeauna apropiată de textul-bază, se poate spune că Virginia Woolf prefigurează tipul de critică tranzacțională a cititorului susținută de Louise Rosenblatt, a cărei insistență asupra lecturii estetice încurajează o transmitere bidirecțională a sensului, în același timp constitutivă operei literare și sinelui cititorului. Cuvinte-cheie: Virginia Woolf, metaficțiune, lectură estetică, povestire, critica cititorului, Louise Rosenblatt Article history: Received 1 March 2024; Revised 27 June 2024; Accepted 01 September 2024; Available online 30 September 2024; Available print 30 September 2024.

Literary psychology is a type of literary theory that is related to the human psyche. Through literary psychology we can understand the psychology or personality of the characters in a story. This research is aim to analyse the personality structure of the main character, Sum, in the short story Tart di Bulan Hujan by Bakdi Soemanto using Sigmund Freud’s psychoanalytic theory. This research uses qualitative descriptive method and literary psychology approach, Sigmund Freud’s psychoanalysis, to analyse the personality structure of the Id, Ego, and Superego of the main character, Sum, in the short story Tart di Bulan Hujan. The results of this study indicates that the main character, Sum, in her personality shows the three personality structures of Id, Ego, and Superego. Sum’s Id is clearly visible from her strong desire to be able to buy a tart in the rainy month. Then the Ego personality helps the Id to get all its desires in a way that is acceptable in the real world, namely by collecting money by saving and working hard to buy the tart. Meanwhile, Sum’s Superego makes her put aside the Ego and Id. These three-personality structure control the behaviour and actions of Sum in making decisions.

Psychological analysis of fictional characters provides the ground for achieving the perspectives and attitudes of fiction writers and paves the way to understanding fictional characters correctly. The psychological Enneagram theory is a new typology that categorizes the behavioral traits of human beings into 9 personality types: Reformer, Helper, Achiever, Individualist, Investigator, Loyalist, Enthusiast, Challenger, and Peacemaker. The main purpose of this research is to examine the adaptability of the main character of the story "The Pear Tree" from the collection of stories "Somewhere Else" written by Goli Taraghi, with the 9 types of Enneagram and also to analyze the behavior of the main character based on the Enneagram pattern. The results indicate that most of the behavioral components of the main character of the story "The Pear Tree" correspond to Type 5 (Investigator) of Enneagram, and in some situations, the behavior of Type 4 (Individualist) of Enneagram shows itself and is consistent with the Enneagram pattern and can be analyzed accordingly.Keywords: Characterization, Short story, The Pear Tree, Goli Taraghi, Enneagram. IntroductionThe psychological analysis of the character element in the story, in addition to obtaining the author's view, leads to the knowledge of the hidden angles of the story and leads the audience to a deeper understanding of fiction literature. Equating fictional characters with various theories of typology helps to analyze and identify their coordinates. The psychological theory of the Enneagram, which categorizes the behavioral characteristics of humans into 9 types, has been considered in the current research due to its universality and originality.On the other hand, examining the works of famous authors of fictional literature helps to clarify the position of this type of literature and also paves the way for knowing the achievements and shortcomings of its authors. The present article analyzes the main character of the story "The Pear Tree" based on the Enneagram model in order to, in addition to a deep understanding of the character, examine the degree of adaptability of the effect to the nine types of the Enneagram, and attempts to answer the question that the main character of the story "The Pear Tree" based on the Enneagram theory can be analyzed in what fields? and is the behavior pattern of the main character compatible with the nine types of the Enneagram? Literature ReviewBased on the research studies carried out, no research has been done on Goli Taraghi's works in the field of fictional character analysis, from the perspective of Enneagram psychological theory, and the present research is innovative from this point of view. Among the research studies carried out, we can mention the article "Analysis of the Archetypes of the Story Elsewhere by Goli Targhi" in which, the archetypes of self, anima and animus, travel, wise old man, mask, shadow, and the process of individuality and rebirth in the story "Somewhere Else" are analyzed and the researcher comes to the conclusion that the plot and characters of the story can be investigated based on Jung's theories (Hadadi, 2010: 147-170). in the article Ecocritical Study of the short story The Pear Tree written by Goli Taraghi, the researcher deals with ecological criticism and examines the relationship between man and nature and concludes that Goli Taraghi tries to redefine the role of nature and her own view in the story of The Pear Tree, and by using double contrasts and symbolism, considers the silent consciousness of nature superior to the modern intellectual consciousness, and looks at ecological nature and values it intrinsically (Niyazi, 1394: 113-127). In the research studies of Persian literature, the theory of Enneagram has been abandoned, and among the few articles presented, we can mention the article "A Psychological Analysis of the Personality Type of King in Masnavi’s Story of ‘King and Maid’ Based on the Model of Enneagram", in which the character of "King" is analyzed based on the Enneagram pattern and by citing evidence from the content of the story, the character of "King" is introduced in accordance with the 8th type of Enneagram pattern (ruler) (Rezaei, 1396: 169-192). MethodologyThis article is a descriptive-analytical research that deals with the analysis of the main character of the story "The Pear Tree" by Goli Taraghi based on Enneagram typology. After introducing the theory of the Enneagram, the researcher matched the main character of the story with the nine types of Enneagram based on the evidence available in the piece, in order to reach the psychological layers of the main character by analyzing the actions and reactions of the main character and helped to a deeper understanding of the events and plot of the story. DiscussionThe story "The Pear Tree" from the story collection "Somewhere Else" is one of the remarkable stories of Goli Taraghi. This story is about the importance of returning to oneself, introspection, and deep thinking. Since literature is the product of the human mind, there is a meaningful relationship between literature and psychology. In psychological criticism, by paying attention to the text and by looking at "symbols and forms of imagination and descriptions and deviations in the artist's language, it is possible to psychologically analyze the effect and understand the soul and mind of its creator." (Shamisa, 2014: 277).Enneagram psychological theory introduces nine personality types. Each type exhibits different behavioral traits. "The Enneagram determines what people of each personality type pay attention to and how they direct their energy and behavior" (Daniels and Price, 2015: 4) and also how they react to any situation.Sometimes, in addition to the usual behaviors of their dominant type, some people may display the behavioral characteristics of their side type in situations, which are called wings according to the number adjacent to the main type of each person. For example, for the dominant type 5, its side types, i.e. types 4 and 6, are considered wings. Therefore, "the wings divide the 9 main types into 18 types." (Pierce, 2017: 53).Through the analysis, the character of the "writer" was obtained based on the Enneagram pattern. The writer exhibits the behavioral characteristics of type 5 and his career is the most important proof of this claim. Type 5 is included in the thinker group, and the thinker group of Enneagram includes types 5, 6, and 7. In this group, type 5 is the type that gets too deep in thought. The writer is deep-thinking, curious, and detail-oriented due to his occupation and being a philosopher. Therefore, his dominant personality is type 5 Enneagram.On the other hand, he sometimes displays behaviors of type 4 Enneagram. His desire and pull towards a love that is far from his reach in adolescence is a characteristic of type 4. Type 4 is in the sentimental triad and is the type that avoids expressing their feelings and tries to express their feelings through art and creativity. The writer also uses his genius to create his works. In the table (1-3) the characteristic features of the writer are recorded. These traits correspond to the characteristics of the 4th and 5th Enneagram types and are mentioned separately for each type. Table (1-3): Bold characteristics of the "writer" personality according to enneagram typesThe bold characteristics of the "writer" personality that match the characteristics of the 5th type of EnneagramThe bold characteristics of the "writer" personality, which are consistent with the characteristics of the 4th type of Enneagram* Great desire to learn* Creative and innovative* Smart* In search of science and knowledge* Introverted* Thoughtful* Has limited interests* Explorer and curious* In search of solitude* Diligent* Focused* In search of individual independence* Analyzer* Absurdist* Unable to express emotions and control them strongly* Inclination to be useful* Sensitive spirit* Desire for unconventional love* * Attached to distant dreams* Creative and artist* Dreamer* Emotional* IntrovertedAs can be seen in the table, the dominant type of the main character in the story "The Pear Tree" is 5; because most of his moral traits are consistent with type 5 of Enneagram; but in some cases, it also shows the characteristics of type 4, so it is "written" type 5 with wing 4 Enneagram. ConclusionBy examining the story of The Pear Tree with the psychological theory of Enneagram, a deeper understanding of the main character of the story was obtained, the relationship between the actions and the main character was correctly explained, and the actions of the actor within the framework of the signified and signifiers of the story became logically understandable, and as a result, the plot of the story and its course of events were easily formed in the mind of the reader. Enneagram theory helped a lot to analyze the story and in this regard, the narrator of the story established a close relationship with the audience.Through the analysis, the type of the main character of the story was determined. Most of the attributes of "writer" are consistent with the 5th type of enneagram, and in some cases, it tends to the 4th type. Therefore, from the analysis, it can be concluded that the main character of the story "The Pear Tree" is adaptable based on the Enneagram theory and can be analyzed and explained accordingly.

This paper proposes that a transformation of the New Sincerity aesthetics has taken place in Zadie Smith’s short fiction. This shift is explored through an analysis of some of the short stories in Smith’s most recent collection, Grand Union, opposite David Foster Wallace’s “Octet”, one of the foundational fictions of the literary New Sincerity. Their respective approaches to authenticity considered, Smith is argued to have partially departed from the other-directed concern with the reader that had shaped Wallace’s outlook on sincerity, and thus to stand at a productive intersection between postmodernist form, the anticipatory disposition of New Sincerity aesthetes, and the unquestioned, unironic embrace of single-entendre values that Wallace prophesied for the twenty-first century. [ABSTRACT FROM AUTHOR]

This article combines a craft-focused approach with a stylistics perspective to consider the ways in which flash fiction may be said to operate as a unique literary form. In the opening section flash fiction is defined in relation to what are usually seen as its two closest literary companions: prose poetry and the short story. This is followed by an introduction to the linguistic phenomenon known as deixis, and to related concepts from the field of Narratology. These ideas are subsequently illustrated and explored through the close analysis of several short texts and used to uncover what might be considered the defining features of the form. The earlier taxonomic approach of William Nelles is also evaluated in the light of more recent creative practice. The article concludes by arguing that the mobilisation of a story world is a necessary requirement for a text to be classified as flash fiction, by highlighting the importance of deft manipulation of deictic elements, and finally by suggesting that the unique communicative context evoked by flash fiction has significant implications for its interpretation. [ABSTRACT FROM AUTHOR]

This essay opens with a creative response to Éilís Ní Dhuibhne's short story 'The Shortcut through IKEA' and continues with a reader's appreciation of her 2012 short story collection The Shelter of Neighbours. Consisting of fourteen stories, the collection is set in the fictional south county Dublin estate of Dunroon Crescent. Each story draws, in one way or another, on the Irish proverb ar scáth a chéile a mhaireann na daoine ('people live in one another's shelter'). Dunroon Crescent is a community in proximity, where connections have either been forged or exist solely because of geography. The estate's inhabitants are detached from themselves and each other but their lives also overlap and intersect, illuminated by the light of their pasts, by remembered loss and the legacies of earlier choices. [ABSTRACT FROM AUTHOR]

'TreeLand', a neglected pier attraction in northern England, has become home to some of the country's last remaining trees. On a day trip with her children, Ama's encounter with the verdant forest prompts her to question the stories she has always been told about trees being a threat. In this alternate near future, technological solutionism, the drive for development and resistance to lifestyle change has enabled the spread of carbon capture technology and the demonization and widespread replacement of real trees. The roots of this fictional societal response are shown to go back through generations and are perhaps not as far removed from today's England – where ancient woodlands are under threat and plastic lawns proliferate – as we might want to believe. The accompanying poetics, 'Some notes on losing trees', explores how stories can shape our understanding of, and interactions with, the natural world. The author reflects on how their imaginative world in childhood was forested through fiction when many native woodlands and trees had already been destroyed. Together, the story and poetics, invite consideration of how we respond as individuals, and as a society, when loss of nature is raw and immediate, when it is remote in time or space, or when it is just another part of the barely noticed everyday. [ABSTRACT FROM AUTHOR]

This editorial begins by briefly mapping the rise of environmental science fiction in recent years and noticing that short fiction studies are yet to fully embrace ecocriticism as an angle from which to study the short story form. After remarking that the Special Section of this volume of Short Fiction in Theory & Practice intends to contribute to both of these projects, the editorial provides a brief summary of the articles, stories and interview included in the section. The editorial ends with brief descriptions of the articles and book reviews included in the General Section of the issue. [ABSTRACT FROM AUTHOR]

This article proposes that in Sarahland (2021), Sam Cohen makes of the short story cycle form a productive arena in which to explore queer ecological concerns. Reading with queer ecocritic Nicole Seymour, it argues that the early stories frame heteronormativity as an ecology of harm whilst also exploring the difficulties of using critical theory to create more caring, queerer alternatives. The later stories, in making their environmentalist concerns more explicit, go further in articulating a queer ecological consciousness. The discussion focuses on how Cohen creates a dense ecology of affective, narrative and symbolic connections between the component stories. It suggests that the short story cycle is a form rich with possibility for exploring questions of queer futurity, ecology and belonging. [ABSTRACT FROM AUTHOR]

From the 1980s to the 2000s, contemporary world fiction gained increasing prominence through the maximalist form of the postcolonial novel. More recently, short story collections with postcolonial themes, realist styles and minimalist constraints have gained in prominence, even as patterns of migration entangle the categories of local and global. This article focuses on two recent and acclaimed books, How to Pronounce Knife by Souvankham Thammavongsa, and Afterparties by Anthony Veasna So, in order to argue that these reflexive, humorous and polyvocal collections provide new and generative iterations of contemporary global fiction through the form of the short story. [ABSTRACT FROM AUTHOR]

The article discusses the generic features of Władysław Stanisław Reymont's short story I Killed! in the context of horror fiction. The work's generic status carries specific interpretative implications. Through the language of horror Reymont emphasizes the possible horror of a revolutionary uprising. [ABSTRACT FROM AUTHOR]

Borders and frontiers are often problematized in Agnieszka Dale's Fox Season and Other Short Stories (2017), where mental borders seem to be more divisive than spatial boundaries. Many of these narratives feature Polish immigrants in Britain who struggle with their displaced condition in various ways. As some of the stories in the collection reveal, the scenario of post-Brexit Britain compromises conviviality amongst different groups, including the Polish community. Special attention is placed upon how several narratives in the volume underscore the prevalence in British society of Polish stereotypes as the crystallisation of the still widespread animosity against non-Europeans. Homi Bhabha's notions regarding the formation and dynamics of stereotypes will be helpful in understanding the mechanisms beneath such constructions. Likewise, some of the major tenets of social theory, as well as Edward Said's notion of 'Orientalism', will contribute to shedding light upon this resentment towards the Polish minority, occasionally adopted too by already established immigrants against their former compatriots. This article will ultimately intend to draw attention to the cautionary nature of Dale's collection as a call for harmony and the appreciation of difference among nations, thus preventing the gloomy perspectives the dystopian futures of some of these stories forecast upon Europe. [ABSTRACT FROM AUTHOR]

This study is aimed at describing the ideational function in Edger Allan Poe's The Tell-Tale Heart and Guy De Maupassant's The Necklace. It delves deep into exploring the lexico-grammatical strategies used in these short stories to convey the style of the author as his representation. The grammar of clauses as transitive patterns encodes ideational meanings about the participants' role, experience, processes and circumstances. By finding transitive patterns in the clauses of the text, we can describe in detail how different fields of situations are being constructed. In this way, the researchers propose a reading demonstration/observation of the texts of the two writers from two different eras in the history of English literature. The researchers are intended to point out the patterns of ideational function pervading in the lexico-grammatical structures of Edgar Allan Poe's The Tell-Tale Heart and Guy De Maupassant's The Necklace to highlight authors' techniques of foregrounding the ideational meta-function with varying styles and frequencies. [ABSTRACT FROM AUTHOR]

This research aims to create short stories with PTSD themes by applying the creative writing technique for short stories as the initial product of digital audio-visual illustration, which will be used as an alternative for trauma healing. The product of this research is a part of art therapy that can assist in expressing various emotions of both the creator of the work and its audience. This study applies the creative writing technique for short stories by Edward Archibald Markham, consisting of 10 key points in creative writing for short stories, namely: (1) preparing for the short story, (2) revision, (3) the opening paragraph, (4) revision 2 - paying attention to detail, (5) shape: structure and form, (6) revision 3, (7) character, (8) dialogue, (9) literary conceits and extended metaphors, and (10) advanced exercises. This technique was chosen because it is highly relevant in developing a short story that vividly portrays traumatic experiences for the readers to empathize with. This research is a continuous study and a collaboration of researchers from the Faculty of Language and Arts at Universitas Negeri Jakarta, with expertise in literary studies, music composition, and visual arts. Therefore, this short story serves as the initial product that will be further developed into a digital audio-visual illustration (mixed art) that will play a role as an alternative art therapy for trauma healing. [ABSTRACT FROM AUTHOR]

Ahmet Hikmet Muftuoglu, who is a significant short story writer in Turkish Literature, is generally evaluated within his books Haristan and Caglayanlar. Haristan, which was written with Serveti Funun's individualist artistic approach and its aesthetic concern, and Caglayanlar, which reflects the idealist and the Turkish nationalist approach of National Literature, were accepted as the two poles of his literary style. However, there are also stories that he didn't include in these books, and those were not transcribed to new letters and remained in periodicals. Majority of these stories left outside the scope of studies about the writer. In this study, twenty-two short stories and one long story that have not been transcribed will be introduced and discussed chronologically, and they will be analyzed in connection with other pieces in his books. These stories revealed that the writer had been inspired from national literary sources before publishing Haristan, and that he continued his style in Haristan in terms of content and style in some of the pieces he did not include in Caglayanlar. The difference in his literary approach in these two works can be explained by the fact that these stories were excluded from his books. [ABSTRACT FROM AUTHOR]

Humans vivify their world by expressing emotions. “Expressing Emotion” is regarded as a way to improve the life quality and establish effective human relations. Since Mahmoud Dowlatabadi's works are realistic, they are considered as suitable texts for analyzing human emotions and their emotional interactions among the contemporary fiction literature. This article mainly aimed to find answer for the following questions: “what emotions”, “why”, “how” and with “what consequences” are expressed in the characters? A descriptive-analytical method used to analyze the emotions of characters in Mahmoud Dowlatabadi's stories (Missing Soluch and his ten short stories) in a qualitative quantitative manner. The results indicate that negative emotions, especially “anger and fear” mostly for reasons as economic problems, climate aggressiveness, cultural poverty, serfdom system, etc. are manifested in different ways as riots and collective fights, verbal and non-verbal violence (physical and mental harm, etc.) and they overcome positive emotions. Positive emotions as “joy and love” are relatively few and often appear in the non-verbal behaviors of the characters- sometimes manifest in some local and national traditions and often “indirectly”. Effects of emotions, sometimes the cause of the emergence or transformation of other emotions, appear in the biological-cultural-social aspects of their personalities in different ways. [ABSTRACT FROM AUTHOR]

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Implementing Julia Kristeva's theory of abjection, the present study attempts to demonstrate that the short fiction of Lydia Davis, contemporary American writer, is, first and foremost, about the fragility of identity and the precariousness of its borders. Using a descriptive-analytical approach and Kristeva's Powers of Horror: An Essay on Abjection, as the main source in which she delineates her theory, this paper studies four of Lydia Davis's short stories in depth. Abjection is the process in which the subject casts aside anything foreign to the self, or the 'abject,' at an early stage, to safely procure a coherent I. By detecting and interpreting two of the abject's main manifestations, namely women and corpses, the current article will contend that Davis's characters/narrators are always already stuck in seemingly bottomless pits of identity crises, both inside and through their use of language. Analyzing Davis's "The Thirteenth Woman," "Suddenly Afraid," "Grammar Questions," and "Letter to a Funeral Parlor," this research tries to unravel the intricacies of maintaining shaken identities and endangered subjectivities at the face of unimaginable horror. Although discarded repeatedly by the characters in these stories, the abject never vanishes; it keeps haunting the periphery of selfhood and the solidarity of meaning. [ABSTRACT FROM AUTHOR]

В работе описываются особенности англоязычной сверхмалой прозы – миниатюрных рассказов, получивших название microfiction. Текстовое пространство таких текстов чрезвычайно ограничено (не более трехсот слов), однако обладает сложной внутренней структурой, характеризуется безусловной цельностью содержания и наличием законченного идейного и эстетического смысла. В результате анализа эмперического материала было установлено, что к особенностям организации текста microfiction относятся: ограниченное количество персонажей и одно ключевое событие, вокруг которого строится сюжет. Сюжет произведения образуется из комбинации мотивов, связность текста определяется кольцевой композицией и обилием дистантных повторов. Повествование передается в форме несобственно-прямой речи, художественная выразительность реализуется в ритмическом рисунке структурных элементов текста.

The novella Cînd Nu mai ai pe Cine să Îmbrățișezi [When you have no one to hug], by Răzvan Brudiu, offers a wild and isolated image of a hamlet in the Apuseni Mountains, where old Joseph lives in solitude, strengthened by the power of faith, waiting for the last road to eternity. In the volume we can identify a dialogical construction on the waiting theme, under the sign of silence. If Joseph speaks, it is to banish loneliness, as rarely does anyone cross his threshold, so that in the narrative ego his words and gestures provoke deep meditations on existence. The profile of the central hero is gradually built up through simplicity, modesty, and natural gestures, contrasting with the erudition of the theologian who constantly feels the need to refer to various passages in the Bible, to church events and services, to quotations from the writings of saints or famous writers, etc. Two different worlds emerge from the dialogue between the two protagonists, that of the city, where life is full of daily hassles and worries, where people judge things with a ‘correct’ mind, and the world of old Joseph, for whom time has already become ‘eternity’. These worlds, symbolically confronted, generate meaningful images. The 90-year-old man serenely looks towards death, aware that he does not have much more to expect from life and wishing to be reunited with his wife. He leads a simple life, but his prayer, uttered without worrying about tomorrow, generates in his heart love and longing for the Creator. For him, the end of the world is, in fact, the meeting with God, and everything he does since his wife’s death is a preparation for reaching the final goal, thus becoming an example for everyone who believes in eternal life.

Türk edebiyatı tarihî sergüzeşti boyunca ilişki kurduğu farklı medeniyet dairelerde karşılaştığı yenilik unsurlarını kendi bünyesine kazandırmıştır. XVIII. yüzyıl itibarıyla devletin modern bir kurumsal yapıya kavuşma çabası millî kültür unsurlarının da yeni terkiplere ulaşmasına imkân sağlamıştır. Yeni Türk edebiyatı da bu modernleşme girişiminin sonucunda XIX. yüzyılın ikinci yarısı itibarıyla Fransız edebiyatı özelinde Batı edebiyatının temel paradigmalarına muvafık bir veçhe kazanmaya çalışmıştır. Halk edebiyatının ve Divan edebiyatının kendilerine mahsus değer dünyaları ve ifade tarzları artık yeni bir gerçeklik ekseninde değişime uğramaya başlamıştır. Tanzimat sonrasında tebarüz eden yeni tarzda edebî eserler Batı edebiyatının tesiri altında şekillenirler. Hikâye sanatı da Halk edebiyatında ve Divan edebiyatında var olan örneklerinden farklı bir duyuş ve ifade tarzı ile bu yenileşme hareketinden payını alır. Edebî eserlerde işlenen hikâyeler Fransız romantizminin, realizminin ve natüralizminin getirmiş olduğu yeni ölçüler eşliğinde okuyucuya sunulurlar. Bu çalışmada Türk edebiyatında yeni bir tür olarak temeyyüz eden modern hikâye sanatının hangi dikkatler eşliğinde gelişmiş olduğu, ne gibi yapısal özellikler arz etmiş olduğu tespit ve teşrih edilmeye çalışılacaktır.

Transformation occurs when one type of art is replaced by another. Literary works can not only be translated, or transmitted from one language of work to another, but can also be translated into other forms of art. This research aims to describe the transformation of the short story Blokeng by Ahmad Tohari into a drama performance. The theory used is Rifaterre and Pradotokusumo's transformation theory. This research method is descriptive qualitative. The research results show that there are two transformation processes that occur. First, five data were found in the form of expansion or additions to the plot and characters of the short story Blokeng by Ahmad Tohari in drama performances. Second, two modified data were found from the short story Blokeng by Ahmad Tohari for drama performances. Third, there are seven things from the research results regarding the transformation of short stories into drama performances that can be applied to the Drama Appreciation course. The creation of an adapted drama performance as a form of change in a literary work may result in several differences from the work that is the reference. Thus, in the process of adapting a literary work into a drama performance, one should still pay attention to the meaning of the story, so that the audience still gets a thorough understanding of the essence of the literary work when the transformation process occurs from what was originally a textual media then converted into an audio-visual media. or vice versa. Theoretically, this research contributes to providing knowledge to readers about the transformation of the short story Blokeng by Ahmad tohari into the drama performance. Furthermore, it is hoped that teaching materials will be produced that is useful for the Drama Appreciation course.

Examining the structure of a narrative is crucial for readers to comprehend the literary work and gain insights into the author's writing techniques. This research focuses on analyzing the textual structure of Khalil Gibran's short story 'صراخ القبور' (The Cry of the Graves), encompassing plot, themes, characters, and setting. Utilizing a qualitative approach and structuralism analysis techniques, the study employs library research methods. The data analysis reveals that the theme revolves around justice. The plot exhibits a non-linear progression, and the main character is the 'I' character, supported by three other characters. The setting is described extrinsically, incorporating both time and place. The narrative utilizes multiple points of view. Each intrinsic element within the story is interconnected, forming a cohesive and integrated meaning.

This article sought to explore moral and democratic society systems within Mark Twain's short story "The Man That Corrupted Hadleyburg" using a descriptive methodology. The source of data in this research was the text of the short story itself, while to support the data, the writers encompassed relevant information related to the research, including literary theory and sociological perspectives on literature. The data collection process involved in-depth reading, transcription of pertinent quotations from the story to support the research, and systematic categorization. Through genetic structuralism as the analytical framework, this study revealed the moral criticism and democratic society system as the central themes, manifesting through key characters such as Edward Richard, Reverend Burgess, and other supporting figures. In Twain's "The Man Who Corrupted Hadleyburg," a profound exploration of moral criticism and democratic societal systems unfolds. The narrative delves into the intricacies of character morality, exposing the vulnerabilities of individuals and the democratic decision-making processes within the framework of Hadleyburg's society. The reactions of Hadleyburg's residents to the sudden influx of gold served as a noteworthy concluding point, shedding light on the broader societal implications within the narrative. In essence, this research illuminates the multifaceted layers of social criticism embedded in "The Man That Corrupted Hadleyburg," offering a nuanced understanding of the moral, societal, and individual dimensions explored by Mark Twain in this literary work.

One of the key themes in Silvina Ocampo’s short stories is identity, understood as something that is s constantly being formed, that is changing, that is not necessarily stable. The most radical change in identity is metamorphosis. In the article we duscuss different types of transformation that the characters undergo (into plants, animals, another human being or even an inanimate object) and its meaning. The metamorphosis in Ocampo’s texts is not always unwanted; it can also be a path to freedom.

The text comments on Mexican writer José Emilio Pacheco’s relationship with Kafka’s work, mentioning his journalistic texts on the subject, but concentrating mainly on his short stories. Pacheco’s vision of the city in which and “other” world opens up, submerged beneath the everyday, alludes to Kafka. In the fantastic stories — “La fiesta brava”, “Tenga para que se entretenga” and others- Pacheco develops the theme of subway spaces, uncertain and logically inexplicable. In the other thematic line of his short stories, with the characters of children and adolescents, the Mexican capital and its Roma neighborhood undergo a change of modernization so inadequate that it casts doubt on the very existence of the remembered world of childhood. In turn, in the short novel Las batallas en el desierto, the story of the boy in love opens other accents in the relationship between the son and the father and power. The same way of narrating opposes the freedom of art to the opaque authoritarian world.

The article presents a comparative analysis of two stories written by Anatole France close in time and dealing with similar issues, namely “Le Manuscrit d’un médecin de village” and “L’OEuf rouge.” The purpose of the study is to clarify the narrator’s position in the texts where the voice is delegated to a character, and the truth eludes the reader due to numerous omissions and thus to understand the reason why France deploys obscured writing. The stories, although included in different cycles, share a number images, motifs and narrative strategies. Both short stories address the topic of heredity, which makes researchers observe in them the influence of naturalism on France’s artistic method. Nevertheless, the construction of the texts each time calls into question the attitude of both the narrator and the author to the naturalistic concept of personality, the aesthetics of naturalism and positivist philosophy in general, introduces the possibility of an alternative interpretation of events and images. A comparison of the two pieces enables us to conclude that France has an ambiguous, ironic view of ideas popular among his contemporaries and that the writer prefers an artistic and cultural text over positivist analyticity.