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In this article, we reconsider our 2011 book Lord of the files: Working for the government, which was the first of its kind to collect written sources from hundreds of writers inside and outside the public service on the realities and complexities of Irish public service life. Its portrayal of institutional life, state administration and the delivery of public services as they play out within the values expected of public servants aimed to provide a rounded understanding of what is conventionally known as 'working for the government'. In the decade or more that has elapsed since publication, the context for public policy and administration in Ireland has significantly changed. We identify what we believe are important narratives arising out of momentous events that have defined recent history and which have affected how the public service carries out its duties. We frame these narratives and bring to the fore our original objectives in the anthology by reflecting on how, in recent academic discourse, storytelling is seen as important to understanding the operation and culture of organisations. We take the opportunity to present and discuss new material, and previously overlooked material, that would earn a place in an updated anthology and maintain our purpose of improving the understanding of the public service. [ABSTRACT FROM AUTHOR]

Copyright of Firat University Faculty of Theology / Fırat Üniversitesi İlahiyat Fakültesi Dergisi is the property of Firat 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.)

In April 1918, the Leipzig publishing house Insel released its Flämisches Novellenbuch, curated by the literary translator and art critic, Friedrich Markus Huebner. This anthology of contemporary Flemish literature, which promised its readers a literary tour of 'real-life' Flanders, was part of a much larger number of translations sponsored by the German occupier during the First World War in Belgium. This article explores the image of Flanders that was propagated by Huebner in service of the German cultural propaganda, with a focus on its anti-Belgian undertones. Huebner's selection of short stories seems to represent Flanders as a poor, unfulfilled and rural nation, systematically oppressed by the Belgian state. In this regard, the anthology seamlessly aligns itself with the rhetorical strategy deployed by the German occupation administration – a narrative that casted the Belgian state as the true oppressor, while positioning the Germans as loyal allies and benevolent protectors of the Flemings. [ABSTRACT FROM AUTHOR]

The anthology of Ukrainian poetry «Strings», compiled by Bohdan Lepky, not only became an important literary phenomenon, a text for reading, but also reflected the aesthetic and cultural aspirations of the era. The relevance of the study is determined by the attention of modern literary studies to the formation of the canon of Ukrainian literature. The anthology as a text is a representative of the "golden fund" of national red literature. It is also timely to identify and analyze the contexts of the creation of this meta-genre. The purpose of the article is to analyze the biographical, historical, literary/literary criticism contexts of the anthology of Ukrainian poetry «Strings» as a meta-genre formation and to reveal the reflection of Bohdan Lepky's literary and cultural priorities. The author of the article represents the anthology as a text that is a means of creating a thematic and genre canon of literature, a document that testifies to the reception and self-understanding of the compiler's literature. B. Lepky's anthology is considered in historical, literary/literary criticism and biographical contexts. The historical context is the consequences of the First World War, which forced many peaceful Ukrainians to emigrate, and those who fought on the fronts as Russian subjects to acquire the status of prisoners of war. Many of them sought to preserve their national identity, they needed educational books, artistic texts, because they wanted to study, learn their native language, and read their literature. Therefore, the publication of such a book was timely. The biographical context is revealed through the study of B. Lepky's place of residence and sphere of activity: 20 years of the 20th century, Rastatt, Vetzlar and Berlin. He taught Ukrainian literature in camps for prisoners of war, at teaching courses at the Embassy of the Ukrainian People's Republic and worked in the editorial office of "Ukrainian Word" as a publisher, compiler and commentator of the works of Ukrainian writers. The literary/literary criticism context is the environment in which the book was published: monographs, articles by predecessors, collections of folk songs, existing editions of authors, anthologies. Reading Bohdan Lepky's anthology through historical, biographical, literary/literary criticism contexts allows us to conclude that this book represents the thematic and genre canon of Ukrainian literature in the author's reception and interpretation.

Preexisting partial genetic codes can fuse to evolve towards the complete Standard Genetic Code (SGC). Such code fusion provides a path of ‘least selection’, readily generating precursor codes that resemble the SGC. Consequently, such least selections produce the SGC via minimal, thus rapid, change. Optimal code evolution therefore requires delayed wobble. Early wobble encoding slows code evolution, very specifically diminishing the most likely SGC precursors: near-complete, accurate codes which are the products of code fusions. In contrast: given delayed wobble, the SGC can emerge from a truncation selection/evolutionary radiation based on proficient fused coding.

In recent years, and especially during the Covid-19 pandemic, several university course units have moved from a traditional format, made of face-to-face lectures supplemented by notes and exercise sheets, to a blended learning format based mainly on asynchronous engagement with recorded lectures, videos, and notes, followed by supplementary synchronous sessions to consolidate and expand on the core material. While during Covid-19 the latter format presented clear advantages, as things slowly go back to normal course leaders are free to choose between the two formats, each of which has its own set of advantages and challenges. In this case study we explore the transition from a blended learning course back to a traditional faceto-face format, focusing on the use of an innovative 'anthology' approach to repurpose digital materials. Originally a blended learning course featuring a mix of videos, notes, and quizzes, the course underwent a transformation to adapt to a more conventional format without sacrificing the accumulated digital resources. Through this transition, an anthology of learning materials was created, which serves as supplementary support for student learning, providing a wealth of learning aids, ranging from mandatory activities to entirely optional exercises. Challenges encountered during this transition, specifically avoiding an increase in workload, and the maturity required from students, will be examined. We aim to provide a framework to highlight the potential of effectively reutilising blended learning resources within traditional teaching frameworks, while being mindful of workload issues, to enrich the students' learning experience. [ABSTRACT FROM AUTHOR]

This article theorises the 'speculative anthology' as a formal experiment in futurity that challenges how anthologies have been used to publish, and promote, science fiction from the Global South in the international literary marketplace. It focuses on the 'Futures Past' series of anthologies published by Comma Press – Iraq+100 (2016), Palestine+100 (2019), Kurdistan+100 (2021), and Egypt+100 (2024) – in which indigenous writers are asked to imagine regional futures one century after a major historical event that has defined the pasts and presents of these existing, or aspiring, nation states. Building on recent scholarship in postcolonial print culture which has proposed new strategies for reading evolving genres of the anthology, I first consider the speculative anthology as a heterogeneous literary form which has the capacity to facilitate creative collaboration and collective forms of critique. At the same time, I show how such anthologies reveal a homogenising impulse, often rooted in national imaginaries, and can encourage an anthropological approach to literary writing, especially by minoritised authors. Reading across the paratextual infrastructures of the 'Futures Past' series, I then compare how individual anthologies are shaped by various speculative editorial and publishing practices. I conclude that this experiment in futurity undertakes meaningful, yet imperfect, speculative work as it imagines how writing about the future by authors from the Global South might be anthologised otherwise. [ABSTRACT FROM AUTHOR]

Taking a short quotation from Le Mariage de Figaro by Beaumarchais as motto, this article reflects on important issues of comparative literature, namely, questions of inclusion and exclusion in the delimitation of the discipline’s boundaries. In the context of recent discussions on the shifting role and modes of attention in contemporary society (and following Bernard Stiegler), it argues that the issue can be seen in broad terms as a matter of attention and its techniques, and that comparative literature can be understood as both the practical and theoretical study of attention. Finally, it briefly considers the pivotal role of listmaking within the material productions of comparative literature (canons, syllabi, anthologies) as manifestations of this attentional identity.

Netflix’s Black Mirror (2011–present) is often compared to The Twilight Zone (1959–1964) for its thoughtful science fiction (SF) commentary on contemporary society. Yet, as Joanne Morreale shows in her excellent study of The Outer Limits (1963–1965), it might be with that less well-known SF series that Black Mirror should be compared. The confusion that often occurs between episodes from The Twilight Zone and The Outer Limits highlights the many similarities between the two series, with the former’s success paving the way for the latter. Morreale’s concise book, the latest in the TV Milestones series by Wayne State University Press, can only help bring back into the spotlight a series which over the decades has been unfairly living in the shadow of The Twilight Zone.

The anthology “State of War” is a fiction and documentary prose about the bloody war unleashed by Russia on Ukrainian lands, a prose in which the authors, through the prism of their own worldview, experience and emotions, offer the general readership the recorded tragedies of “timeless truth”, the facts of grave illegal crimes committed by the Russian occupiers. The article aims to examine the reception of martial law events in the anthology as non-fiction literature in contemporary Ukrainian prose. The object of the study is the texts of the anthology “State of War”, united by the subject of depicting military events in Ukraine in order to document the war in its various manifestations and tell the world about it in the “Ukrainian voice”. The study was conducted using elements of descriptive, structural and semantic, receptive and interpretive, and contextual methods of analysis. The anthology “State of War” is a genre transformation that combines “sophisticated fiction and the accuracy of documentary” (V. Sayenko), and is dominated by essays, narratives, and memoirs that have only recently been classified as fiction and documentary literature. The textual and social conclusions of “State of War” with an appeal to autobiographical memory made it possible to consider texts in the genre of “non-fictional prose” (T. Bovsunivska): they contain autobiography, the authors appeal to personal experience, indicate involvement in the events described, the narrative is in the first person and is based on a reliable fact, as in memoir genres. The core format of the anthology’s textual content is determined by the history of everyday life. The authors of the book (fifty of them), like the characters in the stories, are writers and public figures, journalists and scholars, volunteers and soldiers of the Armed Forces of Ukraine. Combatant writers, i.e., active military personnel – Oleksandr Mykhed, Artem Chapai, Artem Chekh – create stories not based on other people’s impressions but on what they have seen and experienced, proving that the problems of a soldier are not only related to fighting and defending positions, but also to the aesthetics of survival, to the belief in victory over the aggressor for the further development of society. The texts of the anthology “State of War” contain genre “inclusions” (“Siren-Hyena” by L. Taran, “Under the Bridge” by S. Povaliaiev, “After the Occupation” by V. Puzik) that organically fit into the author’s narrative, confirm significant events, and increase the recipient’s responsibility in the reading process. The semantic core of the narrative of “State of War” is determined by the titles: they influence architectonic expressiveness, inform the reader about the objective reflection of events, facts and phenomena, transform into message titles, decode the content (“Being a Teacher Under Occupation” by L. Denysenko, “My First Bomb Shelter” by I. Pomerantsev, “After the Occupation” by V. Puzik, “Roots Up, or Fear of Migration” by T. Gundorova, “Presentation with Stress” by Y. Vynnychuk).

The article deals with practices of anthologizing and deanthologizing in 18th century literature, particularly with the edition of Benjamin Neukirch's poems by Johann Christoph Gottsched. The study focuses on the editorial strategies and historical positions that arise through anthologies in literary historiography. The deanthologization of Neukirch's poems by Gottsched serves the positioning in the literary field and the discussion of literary history. The analysis shows how anthologies and deanthologization contribute to the formation of literary historical thinking. [Extracted from the article]

The article examines the role of collections and anthologies in Martin Opitz's work. Three categories are introduced: author - collector - editor, which are discussed based on examples from Opitz's works. The Florilegium variorum epigrammatum (1639) is particularly highlighted, in which Opitz collects and translates Greek and Latin epigrams to demonstrate the linguistic diversity of German. The Florilegium is considered as an anthological literary history, which includes both literary and epigraphic epigrams. Opitz is portrayed as a compiler and poeta philologus, who has influenced literary history through his work on anthologies and translations. [Extracted from the article]

The article describes Julius Wilhelm Zincgref's anthology of German poems from 1624 as the first German-language anthology, which served as a supplement to Martin Opitz's Deutsche Pöemata. Zincgref positioned himself in the cultural field alongside Opitz and helped to appreciate older German poetry from the southwestern German region. The anthology marks the transition between Humanism, the Reformation, and the Baroque period and is considered a central literary document. The contribution examines the structure of the initial publication, culturally-historical contexts, and central functions of the anthology. Zincgref's work is considered patriotic and programmatic, aiming to establish German poetry as competitive in the European context. [Extracted from the article]

Farragines poematum , an extensive, four-volume anthology of Neo-Latin poems, was published in 1561–1562 by a group of former Wittenberg students based in Prague. This study focuses on how this collective literary project originated, how the anthology was prepared and what reasons poets might have had for publishing a representative selection of their own works of poetry and their friends'. It demonstrates how the final form of the anthology was influenced by the strategies of gaining patronage. Following the concepts of Caspar Hirschi, this study discusses which role anthology, as a specific literary type, could have played in the early stages of the Humanist 'competition for national honour', how it presents the community of poets in the Bohemian lands and the spread of education from Italy to the Transalpine regions to prove the quality of local scholars. [ABSTRACT FROM AUTHOR]

While studying the role of sixteenth-century poetry anthologies in the emergence of European national literatures, the Italian case stands out with particular relevance for different reasons. First, they created a common poetic language spreading all over the nation the model of Petrarch's Rerum Vulgarium Fragmenta. Secondly, especially in Venice, lyrical anthologies were amongst the most popular editorial products, and often publishers cobbled together lyrical texts written by different poets, creating bestsellers that influenced significantly the early modern poetical canon. Yet, the sixteenth-century vernacular anthologies did not only play an authoritative role in the development of the Italian poetical canon. They were sometimes also an instrument to dissent from that canon, promoting linguistic and thematic choices that were not mainstream. This article deals with the tradition of the Rime piacevoli, a series of lyrical anthologies published in the second part of the sixteenth century, that challenged, often ironically, the contemporary canonical poetry anthologies. The aim of the article is to explore a neglected use of the vernacular poetry anthology both from a literary and a commercial perspective, surveying the way they interact with the "canonical" anthologies, and studying their wide circulation and editorial success. [ABSTRACT FROM AUTHOR]

Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics 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 ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses 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 Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu 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.)

Anushirvan Sasani often has a positive image in the stories narrated in Persian poetry and prose texts and is always described as a symbol of justice. However, in one of the Masnavis left over from the last centuries, Anushirvan is not only not just, but also a lustful king who tries to take possession of a chaste married woman by force and coercion. In this work, the pious woman, despite Anushirvan's many insistences, is not willing to go into his solitude. To the extent that out of necessity and in order to get rid of Anushirvan, she plucks out her own eyes and sends them to her, and it is after this incident that Anushirvan takes the path of regret and repentance; To the extent that out of necessity and rejection of Anushirvan, she takes out her eyes and sends them to him, and after that Anushirvan takes the path of repentance.This short poem is the work of an unknown poet named Khalil Shirazi, the oldest manuscript of which dates back to the middle of the 11th century AH and is preserved in the National Library of Iran. Some researchers believe that this Khalil Shirazi is the same Khalil Zargar Rashti, the court poet of Jamshid Khan Ishaqi in the 10th century and the owner of the missing Jamshidname...

In a dialogue with Imre József Balázs, Dóra Péczely, editor and literary therapist discusses the possibilities of approaching young readers through specific selections of literature. Four successful anthologies of both contemporary and classical literature, conceived by Dóra Péczely, had a thematic, but also generational approach to what young readers expect to enter the field of reading. [ABSTRACT FROM AUTHOR]

Also, considering the increasing need of people for virtual space, the governance of the site space has become an important part of the governance of the national real space. Therefore, the existence of sovereignty in cyber space is important. Therefore, this research, which is a qualitative research, has been done with the aim of providing an ontology model of cyberspace sovereignty, so that it is the basis of a more comprehensive and complete definition of spatial explanation cyberspace sovereignty,. The domain of cyberspace sovereignty,, searching along with the theoretical foundations of cyberspace sovereignty, through up-to-date and reliable sources and documents and their analysis through thematic analysis method, important components and themes of cyberspace sovereignty, were identified. Based on the obtained components and themes, an ontology of cyberspace sovereignty was extracted. Finally, by organizing entities related to cyberspace sovereignty through the use of its ontology, a more comprehensive definition of cyberspace sovereignty has been provided. In this definition, 17 components related to cyberspace sovereignty were introduced, which constitute the core model of the cyberspace sovereignty ontology, and each of these 17 components has its own sub-components. The reviewed ontology shows the relationships and governing members of the cyberspace in detail. It can be acknowledged that the definition is one of the most complete definitions that have been presented regarding the cyberspace sovereignty.

This article has two main stakes. The first, to suggest a hypothesis on the genesis of the Anthology of Romanian Moralists among the other initiatives of Acad. Eugen Simion, as a project expected and pursued for a longer period of time. The second objective is to describe what are the main lines of the project started in 2021 and what are the preliminary data generated by the anthologies of texts collected within this project. The early conclusions point to the agglutination of a moralistic specificity, despite the diversity of the eras and currents in which the writers and their anthologized works appeared.

The modern discipline of New Testament Studies has subjected the various components of the New Testament to close scrutiny, yet it persistently fails to ask critical questions about the New Testament considered as a whole. In its familiar twenty-seven book form, the New Testament may be seen as a fourth-century anthology of early Christian writings based on earlier collections or sub-collections (the fourfold gospel, the Pauline letter collection), yet innovative in establishing a sharply defined boundary between included and excluded texts. An analysis of contributions to this journal over a recent five-year period demonstrates the pervasive influence of this fourth-century construct in determining the scope and priorities of (so-called) 'mainstream' scholarship. Greater attention to the contingencies of canon-formation will enable us to locate the texts that came to form the New Testament within a wider early Christian literary landscape. [ABSTRACT FROM AUTHOR]

The inaugural Gerald Kraak anthology titled Pride and Prejudice (The Gerald Kraak Anthology: African Perspectives on Gender, Social Justice and Sexuality) (2017) is a collection of poetry, fiction, journalism, photography, and scholarly writing that focuses on queer and other marginalised identities in Africa. The individual contributions place the queer cultural outsider at the centre of the text. The power of the anthology's collective voice challenges normative subjectivity and its practices of exclusion by showcasing the subjects' joy and suffering, and, through the collectivisation of individual experience, new possibilities arise for a recentred queer subjectivity that challenges imposed normative boundaries. The process of writing is a relatively private activity to explore and express identity and sexuality. In contrast to the privacy of writing is the act of sharing this writing with an audience that witnesses these private and often hidden identities and sexualities. This article focuses on how this anthologised collection of marginalised cultural 'others' shifts the borders of what is considered deviant by reading the entries through Judith Butler's concepts of 'legibility', where the outsider is placed at the narrative centre. Contribution: This article contributes to studies on marginality, queer African literature, genre and anthologies. [ABSTRACT FROM AUTHOR]

Cyberspace is a society that has been formed in the context of information and communication technology. This space has no territorial boundaries and is not governed by a single power. The ability of computer networks to go beyond the modern concept of time and space has significant consequences for governance based on statenation relations. Due to increasing lack of communication control in cyberspace, traditional methods of governance are weakening. Therefore, issues such as the governance model of the cyber space and governance practices, cyber border guarding, monitoring, control, privacy protection, virtual society structure architecture appropriate to the native society are raised. Also, due to increasing need of people for virtual space, cyberspace sovereignty has become an important part of the governance of real national space. Therefore, the existence of cyberspace sovereignty is necessary and important. This research has been done with the aim of providing a comprehensive and complete definition for cyberspace sovereignty by using ontology tools. This research is a qualitative research according to different definitions and viewpoints in the field of cyberspace governance, while examining the theoretical foundations of cyberspace sovereignty. Through up-todate and reliable sources and documents (2004-2022) and using theme analysis method, that important components and themes were identified in the field of cyberspace sovereignty. Based on the themes obtained, the ontology of cyberspace sovereignty was extracted. Finally, a more comprehensive definition of cyberspace sovereignty was provided by organizing entities related to cyberspace sovereignty through the extraction of its ontology. According to the findings, 17 components related to cyberspace sovereignty have been introduced, which form the entities of the main ontology model of cyberspace sovereignty. Based on the findings, these 17 components are: type of governance, basic principles of governance, legal governance, approaches to cyberspace sovereignty, guiding principles, beneficiaries of cyberspace sovereignty, multi-stakeholder approach to cyberspace sovereignty, governance of digital platforms, cyber space regulation, cyber assets, internet governance, network governance distributed and decentralized, digital economy, thematic areas, digital transformation, digital knowledge and talent, and cyber justice. The extracted ontology shows the classes and their relationships in the domain of Cyberspace sovereignty basics. Despite the findings of this research and the presentation of ontology based on documents and evidence, a detailed understanding of the domain of cyberspace sovereignty is possible. The extracted ontology has helped in the structural organization of cyberspace sovereignty knowledge and at the same time makes a suitable format for understanding how to use the above knowledge. [ABSTRACT FROM AUTHOR]

The introductory article recalls the basic profile of the yearbook by referring to the previously published volume Inscription. An anthology 1 and the keynote article by Professor Janusz Maciejewski. The criteria for the selection of articles for the English-language anthologies of Inscription as well as the mode of text selection are also presented here. Next, the issues covered by individual articles are briefly discussed, highlighting their relationship to the journal’s profile. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista de Filología Hispánica is the property of El Colegio de Mexico AC 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 Journal of English Studies is the property of Universidad de la Rioja, Servicio de Publicaciones 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.)

Preexisting partial genetic codes can fuse to evolve towards the complete Standard Genetic Code (SGC). Such code fusion provides a path of 'least selection', readily generating precursor codes that resemble the SGC. Consequently, such least selections produce the SGC via minimal, thus rapid, change. Optimal code evolution therefore requires delayed wobble. Early wobble encoding slows code evolution, very specifically diminishing the most likely SGC precursors: near-complete, accurate codes which are the products of code fusions. In contrast: given delayed wobble, the SGC can emerge from a truncation selection/evolutionary radiation based on proficient fused coding. [ABSTRACT FROM AUTHOR]

Copyright of EDUKACJA Quarterly is the property of Educational Research Institute 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.)

Starting from the anthology 300.000 Kisses by Seán Hewitt and Luke Edward Hall, we aim to analyze the literary manifestations of queer themes, exploring how the act of anthologizing serves as an orienting and guiding force. In this case, the "anthology operation" functions as a compass, highlighting significant trends and providing a cohesive understanding of queer literary landscapes. Through reading 300.000 Kisses, it is possible to trace not only the archetypes of queer culture but also to propose new reading methodologies that allow for a fresh approach to literary text analysis, as well as the storytelling forms that populate contemporary imagination. [ABSTRACT FROM AUTHOR]

The anthology “State of War” is a fiction and documentary prose about the bloody war unleashed by Russia on Ukrainian lands, a prose in which the authors, through the prism of their own worldview, experience and emotions, offer the general readership the recorded tragedies of “timeless truth”, the facts of grave illegal crimes committed by the Russian occupiers. The article aims to examine the reception of martial law events in the anthology as non-fiction literature in contemporary Ukrainian prose. The object of the study is the texts of the anthology “State of War”, united by the subject of depicting military events in Ukraine in order to document the war in its various manifestations and tell the world about it in the “Ukrainian voice”. The study was conducted using elements of descriptive, structural and semantic, receptive and interpretive, and contextual methods of analysis. The anthology “State of War” is a genre transformation that combines “sophisticated fiction and the accuracy of documentary” (V. Sayenko), and is dominated by essays, narratives, and memoirs that have only recently been classified as fiction and documentary literature. The textual and social conclusions of “State of War” with an appeal to autobiographical memory made it possible to consider texts in the genre of “non-fictional prose” (T. Bovsunivska): they contain autobiography, the authors appeal to personal experience, indicate involvement in the events described, the narrative is in the first person and is based on a reliable fact, as in memoir genres. The core format of the anthology’s textual content is determined by the history of everyday life. The authors of the book (fifty of them), like the characters in the stories, are writers and public figures, journalists and scholars, volunteers and soldiers of the Armed Forces of Ukraine. Combatant writers, i.e., active military personnel – Oleksandr Mykhed, Artem Chapai, Artem Chekh – create stories not based on other people’s impressions but on what they have seen and experienced, proving that the problems of a soldier are not only related to fighting and defending positions, but also to the aesthetics of survival, to the belief in victory over the aggressor for the further development of society. The texts of the anthology “State of War” contain genre “inclusions” (“Siren-Hyena” by L. Taran, “Under the Bridge” by S. Povaliaiev, “After the Occupation” by V. Puzik) that organically fit into the author’s narrative, confirm significant events, and increase the recipient’s responsibility in the reading process. The semantic core of the narrative of “State of War” is determined by the titles: they influence architectonic expressiveness, inform the reader about the objective reflection of events, facts and phenomena, transform into message titles, decode the content (“Being a Teacher Under Occupation” by L. Denysenko, “My First Bomb Shelter” by I. Pomerantsev, “After the Occupation” by V. Puzik, “Roots Up, or Fear of Migration” by T. Gundorova, “Presentation with Stress” by Y. Vynnychuk). [ABSTRACT FROM AUTHOR]

This article posits a new kind of anthology of bhakti poetry that has been published in India in the twenty first century. Christening them New Bhakti Anthologies, the article identifies features specific to them: the putting together of compositions from different religious/spiritual traditions and the inclusion of a critical introduction that effectively reconfigures patterns of relationships between such traditions. The article suggests that the publication of such anthologies fills in certain gaps identified in academic discourses on the bhakti studies. It specifically examines three such New Bhakti Anthologies: Extraordinary Child: Poems from a South Indian Devotional Genre (Penguin 2008), One Palace, A Thousand Doorways: Song lines Through Bhakti, Sufi and Baul Oral Traditions (Speaking Tiger Publishing Pvt. Ltd., 2019), and The Mystic and the Lyric: Four Women Poets from Kashmir (Zubaan 2019) as three such examples of the New Bhakti Anthology and considers the ways in which they trace new configurations of relationships between the saint-composers whose works they carry and the larger bhakti tradition. [ABSTRACT FROM AUTHOR]

Copyright of CECIL Cahiers d'etudes des cultures ibériques et latino-américaines is the property of Revue Cahiers d'etudes des cultures iberiques et latino-americaines (CECIL) 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 aims to understand the manifestation of the past and the tribulations that occur in the poetry of the blind poet Al-Taṭīlī, and to reveal the symbolic argument in which the importance of time is centered in most of his poems. The study also aims to explain the image of time that appears in his poetry collection about the goals expressed by the poet. It aims to express the inner reality, not the outer, especially when explaining the tribulation that occurs using rhetorical techniques that show the creative side in the narration brought by Al-Taṭīlī. Using a descriptive and analytical approach, this method, tries to justify the occurrence of this concept in the collection of poets several extraordinary times. The importance of this study lies in the existence of the term time in most of Al-Taṭīlī's poetry. In some contexts, his works are held high because of the abundance of his poetry. His poems have a special place in Andalusian and Almoravid literature in particular. This is in line with the psychological state of the poet, who calls on his queen to produce poetic works in all circumstances including when in tribulation. The study concludes that Al-Tadili has removed everything that caused his suffering, and the sadness that befell him all the time. The study revealed that most situations mentioning time in poetry are due to symbolic meaning with objective similarity. during the verses and poems. [ABSTRACT FROM AUTHOR]

The Broadview Anthology of American Literature: Beginnings to 1820 is a comprehensive anthology that presents American literature from a diverse range of geographies, literary forms, and authors and communities. It balances canonical expectations with the vibrant expanse of literary expression, providing an introduction to historical, thematic, and literary developments up to the early nineteenth century. The anthology acknowledges the structures of settler colonialism, white supremacy, and heteropatriarchy present in early American literature, while also highlighting alternatives and resistance. It is organized around contextual background and thematic constellations, with an online component that expands access to additional materials. The anthology's hybrid approach engages with the complexities of early American literature and invites readers to reflect on the field and period more faithfully. [Extracted from the article]

Review of Bone and Marrow / Cnámh agus Smior: An Anthology of Irish Poetry from Medieval to Modern, by Samuel K. Fisher and Brian Ó Conchubhair (eds) (Winston-Salem: Wake Forest University Press, 2022), 963 pp., ISBN: 9781943667000, $35.95 (paperback)

The inaugural Gerald Kraak anthology titled Pride and Prejudice (The Gerald Kraak Anthology: African Perspectives on Gender, Social Justice and Sexuality) (2017) is a collection of poetry, fiction, journalism, photography, and scholarly writing that focuses on queer and other marginalised identities in Africa. The individual contributions place the queer cultural outsider at the centre of the text. The power of the anthology’s collective voice challenges normative subjectivity and its practices of exclusion by showcasing the subjects’ joy and suffering, and, through the collectivisation of individual experience, new possibilities arise for a recentred queer subjectivity that challenges imposed normative boundaries. The process of writing is a relatively private activity to explore and express identity and sexuality. In contrast to the privacy of writing is the act of sharing this writing with an audience that witnesses these private and often hidden identities and sexualities. This article focuses on how this anthologised collection of marginalised cultural ‘others’ shifts the borders of what is considered deviant by reading the entries through Judith Butler’s concepts of ‘legibility’, where the outsider is placed at the narrative centre. Contribution: This article contributes to studies on marginality, queer African literature, genre and anthologies.

Catullus Online, a collection of the author’s poems and a repository of the conjectures collected through the centuries, was published by Dániel Kiss with the support of the Abteilung für Griechische und Lateinische Philologie of the Ludwig-Maximilians-Universität München, in 2013. Kiss faced many difficulties in the creation of such a resource, both from a technical standpoint and from the inner complexity of the philological tradition behind Catullus and his poems. He still ended up creating a rather interesting Scholarly Digital Edition, which has made such work more accessible, even to those that don’t typically belong in the academic world, offering the possibility to access high-quality photos of the manuscripts, a curated apparatus and much other information about the texts and the author, with just a simple click. What is mostly missing in this project is a more sophisticated digital interface, a lost opportunity to further enhance the quality of such a Scholarly Digital Edition.

This article has two main stakes. The first, to suggest a hypothesis on the genesis of the Anthology of Romanian Moralists among the other initiatives of Acad. Eugen Simion, as a project expected and pursued for a longer period of time. The second objective is to describe what are the main lines of the project started in 2021 and what are the preliminary data generated by the anthologies of texts collected within this project. The early conclusions point to the agglutination of a moralistic specificity, despite the diversity of the eras and currents in which the writers and their anthologized works appeared. [ABSTRACT FROM AUTHOR]

The article discusses the methodology of creating corpora (collections of texts) that allow for the application of quantitative methods and drawing conclusions about the broader sampled population. In particular, the discussed corpora provide a snapshot of the discourse of a specific period, which can be used in diachronic analysis or the study of processes in the history of literature. Digital literary studies need corpora to apply its methods and to expand our understanding of such processes as the evolution of genres, literary concepts, or styles. We begin our discussion with a general overview of corpora as research datasets in various disciplines. We then focus on literary studies by scrutinizing anthologies qua proto-corpora, which seem to have served a similar function, albeit in a different methodological context. These explorations lead us to the review of selected corpora in literary studies. In conclusion, we present the main challenges of the work on the Corpus of Literary Studies Discourse (Korpus Dyskursu Literaturoznawczego; KDL). [ABSTRACT FROM AUTHOR]

Derek Pearsall wrote influentially about the contexts in which Middle English romances were transmitted, paying particular attention to large manuscript "libraries" offering mixed edification and diversion. Two copies of Sir Orfeo, a romance in which he was especially interested, survive in just such contexts, in capacious anthologies. The third copy, however, in London, British Library MS Harley 3810, section I, is rather different, and has attracted less attention. This article discusses the features of this section of Harley 3810, its relationship to the other sections of the manuscript, and what can be hypothesized about its early readership and circulation. Unlike the other manuscripts in which Sir Orfeo appears, this small-format anthology has the characteristics of a pocket-book. [ABSTRACT FROM AUTHOR]