Search

Radical critique and praxis today face an unprecedented challenge because neoliberal rationalities partly succeeded in encroaching upon emancipatory ambitions. On the one hand, as critical sociology informs us, this is because many of the utilitarian tenets of neoliberal rationalities have become naturalized in everyday conduct. On the other hand, as pragmatic sociology shows, because neoliberalism has succeeded in incorporating critical activity into its mode of functioning, challenging neoliberalism comes at the cost of its partial reproduction. Against this backdrop, the goal of this article is to reconsider both the role of critique in neoliberalism and the mode of inquiry of critique, in order to map out an 'alter-neoliberal analysis': a normative mode of critical inquiry that seeks to discover what would need to be the case for a future beyond neoliberalism to be conceivable. Building on the inferential logic of abduction, alter-neoliberal analysis (1) defamiliarizes the opaque ways in which neoliberal rationalities encroach upon practices, so as to (2) critique them in ways that curtail their reproduction and (3) radically imagine politico-epistemological positions that are unintelligible to neoliberal rationalities. [ABSTRACT FROM AUTHOR]

This visual essay investigates two photographic techniques to challenge pre-existing notions of the human body that are derived from people's locally consistent set of beliefs about bodily proportions, shapes and functions. These techniques centre around the mirror as the medium to investigate peculiar visual representations that take aim at normative concepts of what constitutes the human. The essay includes selective images of defamiliarized bodies that the author has photographed within a studio environment and that are applied within the Freudian context of the Uncanny to convey how humans seek familiarity, which is inherited through lived experience as a form of solace in the face of unfamiliarity. The mirror, with its paradoxical nature as a device of reflection, captures both the reality and its representation in a single image, or of presence and absence, allowing for the defamiliarization of the body. The essay provides an explanation of how this is achieved, demonstrating the mirror's potential to expand visual representation beyond the limitations of the body itself. [ABSTRACT FROM AUTHOR]

Listening to music can span a continuum from passive consumption to active exploration, relying on processes of coping with the sounds as well as higher-level processes of sense-making. Revolving around the major questions of "what" and "how" to explore, this paper takes a naturalistic stance toward music listening, providing tools to objectively describe the underlying mechanisms of musical sense-making by weakening the distinction between music and non-music. Starting from a non-exclusionary conception of "coping" with the sounds, it stresses the exploratory approach of treating music as a sound environment to be discovered by an attentive listener. Exploratory listening, in this view, is an open-minded and active process, not dependent on simply recalling pre-existing knowledge or information that reduces cognitive processing efforts but having a high cognitive load due to the need for highly focused attention and perceptual readiness. Music, explored in this way, is valued for its complexity, surprisingness, novelty, incongruity, puzzlingness, and patterns, relying on processes of selection, differentiation, discrimination, and identification. [ABSTRACT FROM AUTHOR]

This paper assesses the relationship between the so-called "curses" on the Woman in Gen 3:16 in terms of themes (garden, tree, creation, marriage, procreation, and so on) and concludes that the late poetic text of the Song aims at a deliberate corrective to the negative view of gender relations in Genesis. The use of mashal, "to rule over" in Gen 3 is reassessed from the perspective of its use of the native genre designation of mashal in Wisdom Literature. There, it refers to similarities between two compared items. The direct reversal of God's speech to the humans in Gen 3, where the woman will be ruled over by her man but still desire him, appears in the Song in the speeches of the Beloved: there she states categorically that the man is her beloved and belongs to her, while she belongs to him. The tactic of defamiliarization (a Russian literary concept) is used to juxtapose radically different views and destabilizes the notion of only one meaning for the words under consideration. In effect, reading two opposing themes together forges a new, more inclusive understanding of both. This paper concludes with a dramatic new rendering of the Song, "The Song I Sing Complete" with speech and motifs reassigned to the woman's voice, foregrounding her remarks within the genre of love poetry, drawing on tropes found in lyrical poetry and the myth of Israel's neighbors in Mesopotamia and Egypt. [ABSTRACT FROM AUTHOR]

Literary criticism as a tool to measure the status and value of literary works in their formalistic form is the result of major changes in the approach to these works in the 20th century. This type of criticism, influenced by viewpoints based on linguistics, examines literary texts without regard to external factors in terms of form and with an emphasis on discourse, mode, and genre. In fact, formalist criticism was formed in order to stabilize scientific research in literature and turn it into independent knowledge by relying on components such as extra regularity and deviation rule. In the current research, using the qualitative analysis method, while reading Faizi Decani's elegies based on the main components of this type of criticism, we come to the important point of how the influence of ruleenhancing methods on the elements that make up the word defamiliarizes the external part of the language. And the words, consonants, and vowels have progressed with the highest degree of coherence and balance, in harmony with the emotional atmosphere of the poem. And also the deviation from the rules governing the standard language, under the title of the deviation rule, by using techniques such as simile, metaphor, metonymy, and irony... In its deep structure based on emotions and feelings, it has given a literary function to the language, and as a result of the compatibility of the poem form with the expressed emotions, it has made the poet succeed in inducing emotions and feelings and creating beautiful emotional elegies. [ABSTRACT FROM AUTHOR]

The function of language systems that convey a message through signs is to stabilize reality and naturalize it, which is not devoid of ideology and layers of meaning, and the people of a society learn signs in the form of cultural conventions in order to receive the message. Image representation through the visual language system throughout history created ideas and beliefs about all matters, such as gender and identity, and society learned them. Postmodern artists, who are always looking for deconstruction and defamiliarization, criticized the naturalized beliefs in the society through unconventional and unconventional representations. In this research, the self-portraits of postmodern photographers who challenged the predetermined conventions of identity and gender through visual signs were taken into consideration and analyzed by Umberto Eco's point of view in order to understand the layers of meaning and the commonality of the works and also importance of challenging Identity and gender should be explained in the present era; Because reading a photo is more mental than physical and the quality of reading depends on the reader, and understanding texts requires decoding and denaturalization. The works in question are the self-portraits of three postmodern female photographers, Cindy Sherman, Claude Cahun and Gillian Waring. After decoding the signs used in the representation, this research comes to the conclusion that the discussed works are not only self-referential but they use codes that emphasize the gender discrimination of the way signs are used in the representation of women. [ABSTRACT FROM AUTHOR]

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

Analyzing Gertrude Stein's early short story “The Good Anna”, included in the trilogy Three Lives (1909), the article examines the dialogical process of the formation of the author's poetics at the intersection of various discourses dealing with the concept of habituality. Written under the influence of the ideas of W. James and the aesthetic principles of G. Flaubert and P. Cézanne, the story can be read as a “space” within which scientific and aesthetic representation of ordinary interact. I argue that we can treat this juxtapositions of names (Stein, James, Flaubert and Cézanne), not as a result of individual circumstances and personal preferences, but as a manилиifestation of certain zeitgeist. Particular attention is paid to the comparative reading of “The Good Anna” as created under the powerful influence of Flaubert’s “A Simple Heart.” On the one hand, the recognition of Flaubert's influence on the writer is commonplace in Stein scholarship. On the other hand, it has not attracted close attention, paradoxically remaining a frequently mentioned but underexplored issue. The article proves that through her dialogue with Flaubert, Stein develops a special mode of defamiliarization, revealing the complex relationship between the extraliterary automatically emerging speech of everydayness and the literary experimental discourse. The discussion of Flaubert's influence on Stein's development as a modernist author implies, in principle, the need to look at this dialogue from a broader perspective, without reducing it to a special case of apprenticeship with the greats and without forgetting the two-way direction of this contact of texts.

This study explores the centrality of the senses for the maintenance or disruption of people's commonsensical familiarity with the world. Drawing from in-depth interviews with people affected by depersonalization/derealization, which the American Psychiatric Association defines as a dissociative condition in which people perceive the world as dream-like, I conceptualize what I term somatic defamiliarization. I define somatic defamiliarization as a process whereby people experience previously unquestioned sensory phenomena, such as mundane objects or their bodies, as unfamiliar. Building on Berger and Luckmann's work, I contend that somatic defamiliarization is a perpetual, albeit latent, condition of social life that threatens reality maintenance. I discuss how the concept of somatic defamiliarization can be applied to explore the somatic qualities of experiential ruptures that people may undergo in various circumstances, such as immigration or war. [ABSTRACT FROM AUTHOR]

While Pinter's earliest plays have been recognized in the modernist history of theatre as comedies of menace and his later plays as political comedies, this article argues that his earliest plays are equally very liable to be interpreted as political comedies. Regardless of their absurdist dramatization of people's helpless exposure to external, unidentifiable threats, a common post-WWII characteristic feature of human experience, I claim that The Room and The Dumb Waiter (both written 1957, staged 1960), two model examples of Pinter's earliest oeuvres, do not simply follow the aesthetic of absurdist theatre to express human futility. The audience's experience of viewing the theatrical performances of both plays in terms of discursive cyclicality or character normality is subverted into one of changeability, strangeness, and contradiction. To foreground the political implications of such revolutionary theatrical experience, Pinter's plays are examined in the light of his unique use of defamiliarization, relying not on Brecht's traditional techniques of singing, dancing, image-projecting, or captioning, but on a simple, dual technique of image destruction and creation. It consists of divesting characters of their normality and portraying them instead as individuals who identify only with unusual images of place, time, body, and consciousness. Using this special technique of defamiliarization, both plays are examined to reveal Pinter's central political theme of undermining reality for purposes of mental and physical subjections. [ABSTRACT FROM AUTHOR]

In this afterword, I reflect on the contributions gathered in this special issue, which make clear that social invisibility is multivalent, as visibility, invisibility, and the oscillation between them have different meanings and effects in different social and literary contexts. To the points made about social invisibility in the contributions, I add three more. First, after considering social disappearance as a possible alternative to social invisibility, I conclude that the lack of clear boundaries between these two highly elastic metaphors should not be seen as a problem, but as fruitful: running with both metaphors allows us to arrive at a better understanding of the lives led by particular precaritized groups, and to compare these lives across historical and cultural contexts, as well as across approaches and methods. Second, while social invisibility and social disappearance have predominantly been used to figure disempowerment, it should be acknowledged that escaping notice can also empower. A brief reading of Don DeLillo's Cosmopolis illustrates the power self-chosen invisibility may impart to the privileged. Third, I argue that humanities approaches to fictionality and narrative and visual form, as found across different types of art and media, provide ways of thinking through social invisibility that add something valuable to empirical and ethnographic approaches in the social sciences. The main reason for this is that narrative and visual form can defamiliarize our perception of the social world, enabling us to notice again or notice differently what has become unremarkable. [ABSTRACT FROM AUTHOR]

In contemporary critical literature, there are various perspectives on the relationship be­tween the political and the poetic. Some view poetry as a form of politics, encapsulated in the aphorism ‘the word is a weapon’, while others argue that politics itself should embody the qualities of poetry, as suggested by Andy Merrifield's assertion that "politics should be like poetry." This article seeks to explore the poetic dimensions that underpin the political necessi­ty for poetry, namely, the attributes of poetry that establish a connection with the political sphere. The focus of this exploration is the concept of poetic defamiliarization and its interac­tion with the political within Jacques Rancière's theoretical framework. Rancière posits that the political function of poetry, and art more broadly, lies in its ability to disrupt the estab­lished order of sensory perception, challenging the prevailing system of unquestioned percep­tual facts. This disruptive quality of poetry contrasts with what has been termed "police aes­thetics" by Vatulescu, which reflects the conformity and uniformity inherent in consumer society. The article contends that, within the contemporary cultural landscape, the transform­ative potential of poetic expression risks being co-opted by aestheticizing practices prevalent in consumer culture. As a result, the subversive nature of poetic utterance is somewhat dilut­ed, as it becomes assimilated into commodifying forces. However, the article also suggests that poetry retains the capacity to resist such commodification by transcending the limitations imposed by conventional boundaries, thereby offering a means of resisting capture by com­mercial interests

When writing his short-story “The Lion and the Dog”, Lev Tolstoy begins his creative process by establishing a tense intertextuality with the fable’s conventions by challenging the traditional approach to this genre. The present article seeks to understand the object by considering Tolstoy’s narrative technique in the light of Nietzsche’s critique of language and Shklovsky’s concept of defamiliarizing. As a result, the paper brings out the peculiarities of Tolstoy’s work, such as his subversion of moralizing tropes and a sketch of the philosophical implications of his work.

Copyright of New Perspectives in Translation Studies is the property of New Perspectives in Translation Studies Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of New Perspectives in Translation Studies is the property of New Perspectives in Translation Studies Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Language is deeply intertwined with culture, and understanding the cultural nuances embedded in words and phrases is crucial for effective communication. Bilingual dictionaries play an important role in bridging the linguistic and cultural gap between languages. This paper examines the inclusion and representation of cultural information in bilingual lexicography, with a particular focus on Chinese-English dictionary compilation. It emphasizes the need to provide not only the meaning and usage of words and phrases (the what), but also the cultural nuances and the background behind them (the why). Furthermore, the presentation of cultural information in bilingual dictionaries requires the exploration of different methods and techniques. In this context, the paper explores the concepts of defamiliarization and foregrounding as means of emphasizing cultural aspects through explanatory notes, cultural annotations, examples from literature or popular culture, and other relevant resources. [ABSTRACT FROM AUTHOR]

This research investigates the use of defamiliarization tools in Mohtasham Kashani's twelve stanzas using a descriptive-analytical method and analysis of findings based on formalist literary criticism. In the morphology of this elegy, linguistic and literary works of art join the chain of emotions and arouse the emotions of the audience along with spiritual ups and downs. Knowing the literary situation, intellectual independence and freedom of reflection, selection of combinations, and variety of themes, Mohtasham draws the artistic effects of words, which strengthens the inner and spiritual background of the poem (emotion). The emotional flow of the poem moves from the personal axis to the social axis and takes the word beyond the cut of a certain time and place, which causes the geographical boundary of the word to be broken and the unity of the stanzas to return to the same circular horizon of Ashura. Besides the theme, Mohtasham's poetry is influenced by the entanglement of emotion and imagination with images and literary works, the natural inspiration of the weight of the poem from the subject’s soul (Karbala incident), the precision in praising the words and refining the meanings (completing and improving the meanings). The most frequent artistic images in this elegy are metaphors, followed by similes. The elements used to make metaphorical images are natural elements and their manifestations, and human elements in metaphors are placed after natural elements in terms of frequency. [ABSTRACT FROM AUTHOR]

When digital media are described as '(in)accessible', this can refer to several things: its availability, approachability, or accessibility to disabled people. As a result, electronic literature is either hailed or dismissed based on an imprecise notion of accessibility. In this article, I analyze works of electronic literature through the lens of these different understandings of accessibility in order to pinpoint the assumptions surrounding digital media about the situatedness and capacities of the reader. I address the availability of electronic literature by connecting the reading experience to convergence culture, the gift economy, and locality. I deepen the insight into reading experience by analyzing the approachability of electronic literature in relation to the Russian-Formalist concept of 'defamiliarization'. To understand this defamiliarized experience of literature, I analyze how digital accessibility to disabled people influences the writing and reading of electronic literature, positing access as a form of 'writing under constraint'. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters 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 Online Journal of Art & Design is the property of Online Journal of Art & Design 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.)

One of the prominent concepts in formalism is “defamiliarization”. In this method, the poet, relying on the principle of strangeness and freshness of language, employs techniques that ultimately alienate the text from the audience. Deviation from norms is one of the main and effective methods of this approach. Leech categorizes defamiliarization into eight types: phonetic, semantic, syntactic, lexical, stylistic, dialectal, orthographic, and archaic. In Persian poetry, Khaghani Shervani is a norm-breaking poet who, relying on his abundant wit and artistic creativity, has used features in his poems that distinguish his poetic style from other poets. A large part of the defamiliarization in his poems is related to the structure and use of vocabulary. This article is written to investigate the structure of vocabulary and the use of different types of defamiliarization in Khaghani's poetry. We have used the descriptive-analytical method and focused on his collection of poems. We have concluded that a large part of the prominence and complexity of Khaghani's poetry is due to the use of various types of defamiliarization in the field of vocabulary. Khaghani has constantly been able to present the freshest poetic images and add to the freshness of his language by creating new words and phrases, using unfamiliar words from the Turkish language and other languages, words related to different religions and sciences, colloquial expressions, and using non-standard forms of words. [ABSTRACT FROM AUTHOR]

The shift in the critical perspective splits an episteme in two. A line of demarcation identical to the paradigm shift separates the new epistemes in a way that the critical insight should differ drastically on both sides of the line. Michel Foucault sorts these historical epistemes as Renaissance and Classical epistemes, then he included the Modern episteme as a latter historical era, and the line of distinction between one episteme and another is the critical insight that the involved mentality adopts. When it comes to the source of the influence of human behavior, the change in perspective in the consideration of the source of the influence is clarified in the comparison between the preFreudian versus the post-Freudian understandings of human beings. It means that with the consideration of two major depressions, the preFreudian thought believed that the driving forces of human beings are external. Whereas the post-Freudian understanding reconsidered the influence on human behavior as ramifications of the subconsciousness that eventually affect the consciousness of human beings. This paper examines Philip Ridley‟s Mercury Fur (2005) in terms of the Russian Formalist‟s defamiliarization aspects. The deployment of such techniques implicates the advancement of the dystopian irregularities on the stage over the regularly implied didactic methodologies. The use of the Foucauldian epistemes distinguishes the deployed defamiliarizing aspects as identified with a difference from the de Sassurean sign analogy. The paper concludes with the defamiliarized elements as the focal points of the plays that adopt Thanatos as their methodology. [ABSTRACT FROM AUTHOR]

The shift in the critical perspective splits an episteme in two. A line of demarcation identical to the paradigm shift separates the new epistemes in a way that the critical insight should differ drastically on both sides of the line. Michel Foucault sorts these historical epistemes as Renaissance and Classical epistemes, then he included the Modern episteme as a latter historical era, and the line of distinction between one episteme and another is the critical insight that the involved mentality adopts. When it comes to the source of the influence of human behavior, the change in perspective in the consideration of the source of the influence is clarified in the comparison between the pre-Freudian versus the post-Freudian understandings of human beings. It means that with the consideration of two major depressions, the pre-Freudian thought believed that the driving forces of human beings are external. Whereas the post-Freudian understanding reconsidered the influence on human behavior as ramifications of the sub-consciousness that eventually affect the consciousness of human beings. This paper intends to examine Philip Ridley’s Mercury Fur (2005) in terms of the Russian Formalist’s defamiliarization aspects. The deployment of such techniques implicates the advancement of the dystopian irregularities on the stage over the regularly implied didactic methodologies. The use of the Foucauldian epistemes distinguishes the deployed defamiliarizing aspects as identified with a difference from the de Sassurean sign analogy. The paper concludes with the defamiliarized elements as the focal points of the plays that adopt Thanatos as their methodology.

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios 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 Lesan-on Mobeen-on is the property of Imam Khomeini International 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.)

Abnormality as one of the expressive tricks and methods of highlighting in the world of literature and art means going beyond the normal and familiar standard, after which the audience is delayed in the face of the work and the meaning is delayed. The place, role and importance of aberration in literary and artistic texts is such that critics have examined it from different angles and in this regard have also offered theories and models that Leach seems to have been able to provide a relatively comprehensive model. Therefore, due to the familiar and ambiguous nature of modern painting, the purpose of this study is to identify and analyze the types of abnormalities in some modern paintings based on the Leach model. Contrary to the familiar and conventional methods of expression before them (the Renaissance tradition), modern painters tested new, unfamiliar and abnormal methods of expression. Modern painters break the boundaries of the common visual system and the definitions and techniques of the art of painting, and by creating unusual, unconventional, complex and ambiguous images, they cause the audience to reflect and rethink. In fact, they have tried to see the world in a different way and to portray it in a new way, and in this way, lead the audience to receive a new visual and semantic experience. This is why we encounter all kinds of highlights and norms in modern painting. Abnormality is one of the methods and techniques of defamiliarization and on the other hand the stylistic features of literary works are deviation from the norm, from the usual and conventional. The question is, which of Leach's norm-avoiding methods can be identified in modern painting? The method of this research is descriptive-analytical and comparative and information is collected from library sources. Therefore, anomaly in the composition of a modern painting can be identified. From this point of view, in modern painting, we encounter the emergence of some of Leach's desired aversions. Modern art is known as a new method and expression in the history of painting, whose artists broke the norm by violating the common pictorial tradition. Just as the writer or poet violates the phonetic rules of the standard language by using indigenous elements, so do modern painters achieve this through the use of indigenous images and shapes. Considering the artistic potentials of language, if the poet escapes from the syntactic rules of language by displacing the constituent elements of the sentence, in painting, too, the artist achieves syntactic aberration by displacing the forms from their original place. If the spelling of a word is inconsistent with its pronunciation, textual aberration is used, the same thing happens in the art of painting by disrupting the structure of shapes. Consequently a semantic aberration in literature that signifies a kind of meaning deviation in a sentence has its visual equivalent. It is in such a way that a visual element, contrary to the conventional semantic rule, is used in the painting frame. [ABSTRACT FROM AUTHOR]

The present article considers two metafictional novels published at the end of the 20th century against the background of cognitive literary studies. The formal features of the novels are discussed with a view to the way they defamiliarize various concepts: fiction itself, consciousness, memory, science, art, reading, the internet, artificial intelligence, etc. The novels' attempts at fostering a dialogue between fiction and the humanities, on the one hand, and science and technology, on the other, are mirrored by the reader's vacillation between engagement and detachment and the effects of the texts' self-reflexivity on the reader's mind. [ABSTRACT FROM AUTHOR]

Video games which base their narration on avatar-based representation of the player shift the narrative towards the interactive receiver, a “surrogate self ” within the game’s tale. The immersive activism of the sovereign influence of the player on the course of the game is nonetheless significantly limited in case of procedural games, as the interactivity may prove to be an imposed or anticipated inter-passivity of the receiver. The chaos-inducing and destabilizing effect of the pandemic on social life shown in the example of the rhetorical, both utopian and persuasive game Animal Crossing proved to be the anticipated virtual ersatz of real social order. The players’ anxious dissociations and dislocations were assuaged by the rhetorical disposition of the game, which does not require deep investment. It is an ambient game in the sense that the player allows his in-game islander avatar to “lead them by hand”. The player does actively belong to the allotopic community, but nevertheless their alternative post-identity becomes a form of psychological escapism which allows them to relinquish factual decision making. Meanwhile, to explore the new possibilities of the island community, the game poses a condition: one has to accept its dominant economic aspect. Animal Crossing’s narrative subordinates the active interaction in-game to obedience to rhetorical procedures which, through second-person narration, impose quasi-capitalistic rules of order to the simulation of island fun. The player is thus not sovereign in their actions, but rather they follow instructions aimed at them. The market regulations of late capitalism form the ideological background of these instructions. The eutopic narrative thus conceals the paradox of the neoliberal “object of free will” which is only possible at the cost of repression and real constraints on autonomy and choice, even in the alternate form of in-game post-identity.

In this article, we try to show that defamiliarization is basically a philosophical approach to phenomena, especially in the field of language, literature and poetry. In this regard, Derrida's deconstructive approach, as a difference, is more closely related to the concept of Shkolovsky unfamiliarity. Basically, our mentality is a matter of language, and in the meantime, poetry is the crystallization of this kind of mentality. Hence, it can be said that mentality is constructed in the context of language, and in the thinking of poststructuralists such as Barthes, Deleuze, Derrida, this construction is always formed in the form of language. What is particularly important about Derrida's difference and, more generally, about Shkolovsky's unfamiliarity with language, is that we can never say that we have reached the full meaning of a word or sentence or phrase, and so on. Meaning is never fully present in a world. However, in this article, we deal with deviations as defamiliarization in various forms, and suffice with one of these abnormalities, namely the phonetic type, and deal with examples of contemporary Iranian poets from the traditional and romantic spectrum in confirmation of this kind of abnormality. . The poets discussed in this article are Simin Behbahani, Malek e Shoaraye Bahar, Fereydoun Moshiri and Hamid Mossadegh.

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

Video games which base their narration on avatar-based representation of the player shift the narrative towards the interactive receiver, a "surrogate self" within the game's tale. The immersive activism of the sovereign influence of the player on the course of the game is nonetheless significantly limited in case of procedural games, as the interactivity may prove to be an imposed or anticipated inter-passivity of the receiver. The chaos-inducing and destabilizing effect of the pandemic on social life shown in the example of the rhetorical, both utopian and persuasive game Animal Crossing proved to be the anticipated virtual ersatz of real social order. The players' anxious dissociations and dislocations were assuaged by the rhetorical disposition of the game, which does not require deep investment. It is an ambient game in the sense that the player allows his in-game islander avatar to "lead them by hand". The player does actively belong to the allotopic community, but nevertheless their alternative post-identity becomes a form of psychological escapism which allows them to relinquish factual decision making. Meanwhile, to explore the new possibilities of the island community, the game poses a condition: one has to accept its dominant economic aspect. Animal Crossing's narrative subordinates the active interaction in-game to obedience to rhetorical procedures which, through second-person narration, impose quasi-capitalistic rules of order to the simulation of island fun. The player is thus not sovereign in their actions, but rather they follow instructions aimed at them. The market regulations of late capitalism form the ideological background of these instructions. The eutopic narrative thus conceals the paradox of the neoliberal "object of free will" which is only possible at the cost of repression and real constraints on autonomy and choice, even in the alternate form of in-game post-identity. [ABSTRACT FROM AUTHOR]

Copyright of Tradução em Revista is the property of Faculdades Catolicas - Pontificia Universidade Catolica do Rio de Janeiro 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.)

Literary works have become the unique mediums to express human expressions through the language which is used to construct the identities. Identity crises occupy a place of great importance as a response to their lost homes. When people find themselves dislocated from their previous past, their mental disturbance haunts them constantly, and they endeavor to re-locate themselves by recalling their nostalgic past. The aim of this study is to explore the “I shall not return the borrowed dust…” from the Formalism and Defamiliarization perspective to uncover the impact of the factors on the text helping to fore ground the identity crises of the immigrants who, after got Pakistan in 1947 but fail to get identity. Using a qualitative research method, the study shows that how familiar images and symbols are becoming helpful to make the apparently familiar things strange/ defamiliar to exhibit the identity crises. [ABSTRACT FROM AUTHOR]

This paper attempts to rescue the notion of foregrounding from the prevailing focus on defamiliarization. It does so by engaging in a phenomenological dialogue with David Miall's account of foregrounding and feeling and Viktor Shklovsky's discussion of literary device and aesthetic function. In particular, it contextualizes Miall's proposal of the response to foregrounding as a feeling-guided process involving boundary crossings, a defamiliarization-refamiliarization cycle, and self-transformative feelings within Husserl's philosophical analysis of sense constitution. Miall's feeling explorations and explications find their counterpart in Husserl's active egoic turning toward the affective allure and enticement of affective resonances. Using Miall's work as a touchstone, some frequently overlooked aspects of Shklovsky's conception of ostranenie are clarified by drawing on Husserl's notions of the natural attitude, active and passive synthesis, affective allure, expressive explication, and awakenings. [ABSTRACT FROM AUTHOR]

The article explores an aspect of spiritual intelligence characterized as a lifelong search for meaning. Slow knowing involves wrestling with perplexity. Periods of such tarrying gradually facilitate an unfolding of meaning. More than just the content of one's knowledge, it is the relationship, the how or manner of one's relationship with meaning that grounds the spiritual generativity of the seeking. Slow knowing is presented as an existential orientation, a lifelong process akin to ongoing conversion. Part 1 distinguishes such slow knowing from other senses of slow in current discourse (Kahneman's fast/slow thinking framework, and meditative concepts of slow mind). Part 2 explores slow knowing through the lenses of lectio divina and the use of metaphor in religious language. Slow knowing is characterized as having both individual and social dimensions. The article concludes with the concern that the conditions needed for slow knowing—and thus for spiritual intelligence—are undermined by the hasty pace of contemporary life. [ABSTRACT FROM AUTHOR]