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This essay situates Henry James’s Italian Hours within recent conversations about Anthropocene ecotourism. Although ecotourism aspires to educate its participants, scholars have struggled to define and assess the education it occasions. This article opens by offering Henry James’s reflections on reading John Ruskin in Italy to make an environmental humanities contribution to that scholarship. Thereafter, the article considers the Anthropocene ecotourism context in the other direction, drawing from “Siena Early and Late” to develop emergent work in econarratology. Cette étude fait dialoguer Italian Hours de Henry James avec les derniers développements en matière d’écotourisme anthropocène. Si l’écotourisme affiche une visée éducative, les spécialistes ont du mal à définir et à évaluer le type d’enseignement qu’il est susceptible d’offrir. Cet article examine d’abord les commentaires de James sur les textes de Ruskin à propos de l’Italie de façon à apporter l’éclairage des humanités environnementales sur la question, pour ensuite prolonger les études émergentes en éco-narratologie en s’appuyant sur l’essai « Siena Early and Late ».

Cet article s’intéresse au recueil posthume du poète Léon-Gontran Damas, Mine de riens, re-titré Dernière escale et publié en 2012. Alternant la forme brève du haïku et la forme longue, ce recueil se rapproche de la saynète. Damas y raille trois phénomènes qui ont marqué la France : l’image de l’Autre comme inférieur, l’Occidental représenté comme supérieur aux mœurs guyanaises et les zoos coloniaux dans les expositions universelles. Dans son ouvrage, le poète appelle à reconsidérer l’image des Amérindiens » et se révèle par ailleurs un précurseur de la créolisation. This article focuses on the posthumous collection by the poet Léon-Gontran Damas, Mine de riens, re-titled Dernière escale and published in 2012. Alternating between the short form of the haiku and the long form, this collection is close to a playlet. In it, Damas mocks three phenomena that have marked France: the image of the Other as inferior, the Westerner represented as superior to Guyanese customs, and colonial zoos at world exhibitions. In his work, the poet calls for a reconsideration of the image of Native Americans and is also considered as a precursor of creolisation.

L’étude se penche sur les propos oraux ou écrits de photographes itinérants contemporains. Au sein de leurs prises de parole, le recours aux lieux communs s’avère constant. S’ils découlent de la reprise par les photographes d’énoncés antérieurs, ils participent également à la construction d’un ethos et à la revendication de valeurs telles que liberté, frugalité, ouverture à l’autre… This study examines the oral and written accounts of contemporary travelling photographers. The use of common-places proves to be a constant theme in their expression. Though they may result from the photographers' repetition of previous statements, they also participate in the construction of an ethos and the claim of values such as freedom, frugality, openness to the other...

This article performs a close reading of James’s 1874/1875 neglected Italian travelogue “Ravenna,” approaching it as a disguised parable of difficulties he confronted as an aspiring writer, in particular those provoked by the simultaneous enticements and threats of movement and stability, home and homelessness, caused by expatriation. It explores how James’s impression of Ravenna as a stagnant backwater can be aligned with anxieties that the artist might suffer a loss of creative vitality amidst the historical and aesthetic density of Europe, making reference to his fiction of this period, but also how his late expressed belief that adverse circumstances could be beneficial to the writer may recapture this period in his career. In particular, it looks at James’s references in this travelogue to Byron and Dante, both exiles temporarily resident in Ravenna, and both of whom interwove the nearby famous wood, the Pineta, into their works. Examining Bryon and Dante’s allusions to the wood as a hallowed place of spiritual and creative renewal, I suggest that James may have felt a companionship in exile with these predecessors that allows him to attain, at the end of his journey, a similar sense of rejuvenation. And through tracing an allusion to Ravenna in The Wings of the Dove I also propose that the scenes and figures of Ravenna may shed new light on that novel, as well as revealing the circuits by which a particular place, for James, could become transformed from a geographic reality into a nourishing space of introspection, infusing imaginative invention long after departure from the physical realm.

This article suggests that the English Hours travel essays written in the 1870s were the crucible in which James perfected his technique of literary representation. Focusing on progress across space and tropes of liminality, the study highlights the presence, as of 1872, of the scenario of ghostly vision which dramatizes the shift from observation to reflection in the author’s fiction. It also shows how the 1877 essays mirror the novelist’s ethical concerns as he was working his way towards a poetical rendering of prosaic urban modernity. Cet article aborde les essais des années 1870 publiés dans English Hours comme le creuset dans lequel s’est élaborée la technique de représentation jamesienne. En analysant le parcours spatial et les lieux liminaux, il fait ressortir la mise en place, dès 1872, du scénario de vision spectrale figurant le passage de l’observation à la réflexion par le langage dans l’œuvre fictionnelle de l’auteur, et dans les récits de 1877, l’ouverture d’une voie permettant de concilier le prosaïsme de la réalité urbaine moderne et les exigences éthiques de l’art.

Cet article s’intéresse à un avatar méconnu du récit de voyage L’Usage du monde de Nicolas Bouvier : un scénario cinématographique écrit conjointement avec le cinéaste suisse Peter Ammann en 1972 et intitulé « Ouest-Est – voyage en Orient » ; ce texte resta à l’état de tapuscrit, le film n’ayant jamais abouti. L’étude compare en premier lieu les étapes du voyage de Bouvier (et de son ami Thierry Vernet) et celles du couple d’acteurs dans le script, puis cherche en quoi le scénario réécrit L’Usage du monde avant de développer pour finir les apports thématiques du scénario du film avec le livre. This article focuses on a little-known metamorphosis of Nicolas Bouvier's travel narrative The Way of the World: a cinematic script written jointly with the Swiss filmmaker Peter Ammann in 1972 and entitled "Ouest-Est - voyage en Orient"; this text remained in typewritten form, the film never having been completed. The study first compares the stages of Bouvier's (and his friend Thierry Vernet's) journey with those of the couple of actors in the script, then looks at how the script rewrites The Way of the World before finally developing the thematic contributions of the film script with the book.

Artisans d’une recomposition symbolique, Paul Gauguin et Victor Segalen ont pris à cœur de révéler Tahiti à travers leurs ouvrages respectifs : Noa-Noa pour le premier et Les Immémoriaux pour le second. L’article cherche à déterminer la place singulière que les deux œuvres occupent au sein du patrimoine culturel polynésien en étudiant notamment les points communs qui unissent les deux artistes. On remarque ainsi que le langage oral polynésien comme révélateur culturel et le « vide » historique de l’archipel provoquent la réflexion de ces auteurs. Paul Gauguin and Victor Segalen, craftsmen of a symbolic recomposition, chose wholeheartedly to reveal Tahiti through their respective works: Noa-Noa (Gauguin) and Les Immémoriaux (Segalen). This article seeks to determine the singular place that the two works occupy within Polynesian cultural heritage by studying the common traits that unite the two artists. It seems rather clear that the Polynesian oral language as a cultural revelation and the historical "void" of the archipelago provoke the reflection of these authors.

Cet article tente de définir et d’illustrer à travers quelques exemples concrets le type de relation critique qu’il est possible (et souhaitable) d’entretenir avec les textes viatiques prémodernes. Il suggère ensuite qu’une telle relation n’entraîne ni plus ni moins qu’une nouvelle conception de la littérature : constructiviste, gradualiste et fondée sur un principe de disponibilité. This article attempts to define and to illustrate in some detail the kind of critical relationship it is possible (and desirable) to develop with early modern travelogues. It then suggests that such a relationship leads to nothing less than a new conception of literature, which could be characterized as constructivist, gradualist and based on a principle of “availability”.

Cet article s’intéresse à la Française Raymonde Bonnetain, partie avec son mari au Soudan, et qui publia en 1894 un journal de voyage intitulé Une Française au Soudan, sur la route de Tombouctou, du Sénégal au Niger. L’article se penche tout d’abord sur le rôle de son mari dans la rédaction de son récit de voyage, puis sur les divers facteurs qui ont influencé la forme adoptée. Enfin, l’étude examine l’identité changeante et instable de cette écrivaine et colonisatrice ainsi que les marqueurs relatifs à sa socio-sexuation. This article focuses on Raymonde Bonnetain, publishing a travel journal entitled Une Française au Soudan, sur la route de Tombouctou, du Sénégal au Niger in 1894 after travelling to Sudan with her husband. The article firstly examines the role played by Bonnetain’s husband in the drafting of the travel memoir, followed by an exploration of the various factors which determined its final form. Finally, the study examines the changing and unstable identity of this writer and coloniser, as well as the markers relating to her sociosexualisation.

C’est au regard d’un contexte particulier et d’une tradition de voyageuses en Orient que l’article examine l’ouvrage de la comtesse de Gasparin À Constantinople, publié en 1867. Après un exposé sur la condition des voyageuses en Orient avant le xixe siècle et quelques éléments biographiques sur Valérie Gasparin, l’examen se concentre sur un des lieux de prédilection des voyageuses européennes en Orient : le harem. L’étude souligne alors le travail de la comtesse sur la démythification du harem, son discours anti-esclavagiste genré ainsi que sa volonté de donner voix aux femmes orientales. The article examines the Countess of Gasparin’s book À Constantinople, published in 1867, in the light of a particular context and a tradition of women travellers in the East. Beginning with a description of the condition of women travellers in the East during 19th century, including several biographical elements surrounding Valérie Gasparin, the study concentrates on one of the favourite places of European travellers in the East: the hareem. The study highlights the work of the Countess on demystifying the hareem, her gendered anti-slavery discourse, as well as her determination to give Eastern women a voice.

Henry James’s description of the appearance and behavior of traveling businessmen in the Hôtel de France section of “En Province” in A Little Tour in France is unusual, and appears to call attention to a recurrent and haunting anxiety on the part of the author that he might resemble these businessmen more than he liked to admit. The article explores James’s apparent identification with the itinerant businessman and the strategies he devised for distancing himself from them. On peut être frappé par le traitement inhabituel que Henry James réserve à l’apparence physique et au comportement des voyageurs d’affaires de l’Hôtel de France dans l’essai “En Province” de A Little Tour in France, anomalie qui indiquerait une hantise récurrente de l’auteur d’être beaucoup plus semblable à ces individus qu’il n’aurait voulu le reconnaître. L’objet de cet article est d’analyser la façon dont James semble s’identifier avec ces représentants de commerce et d’examiner les stratégies qu’il déploie pour s’en distancier.

Cet article s’intéresse à la performance du couple formé par Julio Cortázar et Carol Dunlop, qui a vécu un mois sur une autoroute française, et au livre né de cette expérience, Les Autonautes de la cosmoroute (1983). L’ouvrage, qui joue avec les codes de la littérature viatique en usant de la parodie et de la fictionnalisation, est un texte hybride, polyphonique, subjectif et politique. Diversifiant les médiums et laissant libre cours à l’imagination, il instaure un dialogue constant entre divers types d’énoncés qui se contredisent et se complètent à la fois. This article focuses on the performance of the couple formed by Julio Cortázar and Carol Dunlop, who lived for a month on a French motorway, as well as the book which came out of this experience, Los autonautas de la cosmopista ("The Autonauts of the Cosmoroute") (1983). The book plays with the codes of travel literature using parody and fictionalization and is a hybrid, polyphonic, subjective, and political text. Diversifying the mediums and giving free rein to the imagination, it creates a constant dialogue between various types of statements that both contradict and complement each other.

Si, à partir du xixe siècle, le genre viatique se caractérise par l’expression d’une subjectivité du narrateur, le présent article s’interroge sur la manière dont certains voyageurs du siècle suivant, comme Maurice Barrès, Édouard Schuré et Pierre Loti, ont pu se décentrer et rencontrer les Égyptiens au-delà des scènes de genre. Sans chercher un quelconque renouvellement poétique, ces auteurs cherchent à atteindre un discours à portée généralisante. En s’affranchissant de la chronique et en soulignant la naissance d’un Orient moderne, ils s’écartent du genre viatique pour s’ouvrir à une littérature d’idées. If from the 19th century onwards, the travel genre was characterised by the expression of the narrator’s subjectivity, the present article examines the way in which certain travellers of the following century, such as Maurice Barrès, Édouard Schuré and Pierre Loti, were able to shift their focus and meet the Egyptians beyond Genre Painting. Without seeking any kind of poetic renewal, these authors seek to achieve a discourse with a generalizing scope. By freeing themselves from the account and emphasising the development of a modern East, they moved away from the travel genre and moved towards to a literature of ideas.

This essay develops a rhetorical reading of “Winchelsea, Rye, and ‘Denis Duval,’” whose reflection on the relation between travel and the spectral is structured by aposiopesis, the figure of interruption or stopping in mid-utterance. The ultimate aposiopesis is death, and aposiopesis in its tropological and eschatological implications is both the subject of James’s essay and its central rhetorical procedure. James’s rereading of Denis Duval is informed by the interintrication of travel with the ghostly, memory, and literary tropology itself. Cet article propose une lecture rhétorique de « Winchelsea, Rye, and ‘Denis Duval,’ » texte qui est structuré par l’aposiopèse, figure de l’interruption ou du suspens, et où James en vient à s’interroger sur les relations insaisissables entre voyage et spectralité. La mort étant l’ultime aposiopèse, la figure avec ses implications tropologiques et eschatologiques constitue à la fois le sujet de l’essai et son principal procédé rhétorique. La relecture de Denis Duval par James révèle la relation étroite que le voyage entretient à ses yeux avec le spectral, la mort et l’activité tropologique de la littérature elle-même.

À partir d’un corpus de récits qui émanent de voyageurs ayant effectué un séjour en Europe entre les années 1750 et 1850, l’article examine l’influence consciente et inconsciente du temps dans l’écriture viatique. En prenant en compte les libertés rédactionnelles qui se font jour depuis le milieu du xviiie siècle, la contribution étudie le rôle central de la date dans le récit de voyage, puis s’attache à l’étude de la chronologie courte, des temporalités narratives et de l’expression explicite du sentiment du temps. Using a corpus of accounts from travellers who visited Europe between the 1750s and 1850s, this article examines the conscious and unconscious influence of time in travel literature. Taking into account the editorial freedoms that have emerged since the mid-18th century, the study examines the central role of date in the travel narrative, and then focuses on the study of short chronology, narrative temporalities and the explicit expression of the sense of time.

The issue of journalistic functions fulfillment by the modern mass media is considered. The authors examined a number of news reports in socio-political online media and found some cases where the classic functions of journalism such as informing and controlling were substituted by PR functions. The content analysis revealed an alarmingly large number of pseudo journalistic reports, which mainly aimed to create and maintain a positive image. The reason why journalism is losing its value is the lack of professionals representing the public interest. The analysis shown a high number of publications, based on (practically unchanged) press releases, that is common to a number of media and clearly illustrates the unprofessionalism of the authors of pseudo news. The regional media have to monetize its activity, so the matter of finance wins over the matter of beliefs. However, the media and, in particular, journalism is quickly losing public credibility. In general, we are witnessing the undermining of classical journalistic creativity and the merging of this concept with other wider categories of public relations.

Amitav Ghosh novel The Calcutta Chromosome: a Novel of Fevers, Delirium and Discovery is considered, - an outstanding literary work in which the writer reveals a discourse of science versus counter-science from the earlier world of social, cultural and ethnical history of Indian subcontinent. India is home to the oldest continuous civilization, nevertheless, the long invasive rule of the Mughals and the Britishers has framed minds to undervalue the indigenous knowledge, practices, customs and discourses. Amitav Ghosh novel denies the Western supremacy in every field and puts a question mark in the invention of Anopheles maculipennis as the cause of malaria. Dr. Ronald Ross received the prestigious Nobel Prize in 1902 for his discovery of malaria parasite but Ami- tav Ghosh supports the contribution of Indian assistants Mangala and Laakhan who were not acknowledged by the British researchers. The novel reflects a postcolonial approach to interpret Western scientific mechanism, posits the question to unethical exploitation of native workers by the English and gives voice to the traditional knowledge of the subalterns. An integral part of Ghoshs approach in this novel is to illuminate the richness of ideas and complexity of Indigenous life, and to create a place where aboriginals are acknowledged for their remarkable contributions.

The purpose of the study is to characterize the understanding of the phenomenon of death in M. Shishkins novel The Letter Book . In this work, as well as in the literary world of Shishkin in general, the category of death appears as one of the most important objects of reflection. The opposite facets in comprehension of this phenomenona are revealed: death as unconditional evil and monstrous absurdity (which is emphasized by the numerous anti-aesthetic characteristics of the images of dying and death in the novel), but at the same time, the phenomenon of death and the evil that it carries in itself are overcome, and mortality in the literary sphere of the novel is regarded not only as a destructive beginning, but also as a necessary element of ontological balance and an expression of the wisdom of the world order hidden from imperfect human consciousness. The idea of the deep internal unity of the categories of death and love in the novel is argued. Shishkins paradoxical idea of the thanatological element as a sphere of life creation is understood. Conclusions about the neomodernism guidelines of the writers work are formulated.

The analysis of A.S. Zhulevas monograph is carried out. The author investigates Nenets mythopoetic world model on the basis of pieces of fiction and attracts various sources to fulfill this task: myths, folklore, the epos, data from linguistics, ethnography and ethnology, history of people and also materials about traditional representations in consciousness of the modern person. In the course of the research the author considered works of the different periods, including such writers as Tyko Vylka, I. Nogo and also their followers: V. Ledkov, L. Laptsuy, L. Nenyang, Yu. Vella, A. Nerkagi, etc.

The intention is to explain some aspects of hybridization of language consciousness in this literary work. The aim of the study is to clarify the issue of a word in the novel, which was updated by M.M. Bakhtin. The general thesis is that the tendency to hybridization explains the juxtaposition of serious and funny within the characters utterance: the border between prosaic reality and the characters own world is found precisely when he turns to jokes. The speech of the character indicates a tendency to aestheticize the household environment. This trend leads to a high-intensity hybridization of everyday words and Holy Scripture . The novel The Winter of Our Discontent is more than a didactic literary work and reveals some features of the picaresque novel, but the necessary feature of the picaresque novel is the first-person narrative. Instead of this form of narration the character and the narrators points of view are brought closer together in the novel by J. Steinbeck. The literary work with the features of the picaresque novel remains multidimensional and does not reduce only to one of the existing novel forms, and typologically is rather anti-picaresque. The characters buffoonery gives him the right to detachment, due to which the skewed nature of other characters in the novel is overcome. The language hybridization in this work plays a key role in understanding of the novel.

This article examines the specifics and perspectives of the information and communication universe theory for the analysis of the mass media. The aim is to explain the application of the concept of affordance in the context of media theory. The term was introduced by psychologist James J. Gibson to describe the specific inviting nature of objects and events, which, through affordances, suggest an algorithm for subsequent actions. From this point of view, the information and communication universe makes it possible to use it for some important purposes for the subjects of communication. However, the quality and options for implementing the possibilities of affordance depend on the goals, interests and skills of the subject who is trying to work with this affordance. To use an analogy, the same axe could invite some people to chop wood for an old lady, and others to use it as a weapon against her in order to seize her pension benefits. The thesis on the functional usefulness of the category information and communication universe for the analysis of processes in the media system is put forward. Traditional ideas about the specifics of the production and consumption of texts are corrected. The author analyzes the affordances of the Internet as a subsystem of the information and communication universe. It helps to explain the radical differences in the assessment of network digital technologies by representatives of different research schools. The article outlines further prospects for the identification and use of hidden affordances.

The changes that have taken place in the work of Cuban news agencies during the digitalization of media production are analyzed. Over the past few years, they have been undergoing a process of transformation, changing their approaches to providing information and introducing new products. To study these processes, the authors resort to the digital platforms of two news agencies - Prensa Latina and Agencia Cubana de Noticias , as well as the online news portal Cubadebate . Comparative and analytical methods of research reveal the specific features of functioning of these media resources at the present moment. The authors conclude that despite the international isolation Cuba experienced for more than sixty years and relatively limited financial resources allocated for media development, the country's media market has entered a period of modernization. All the changes taking place will greatly expand the possibilities for integrating Cuban news agencies into global information processes.

The works of three writers from northeast India, Temsula Aos These Hills Called Home , Mamang Dais Stupid Cupid and Anjum Hasans Lunatic in my Head that cover the problem of identity in relation to the insider - outsider politics in the region are examined. The northeast India is in many ways a miniature India because it houses people from various ethnicity and linguistic groups. However, much of the immigration took place after the East India Company annexed the northeast region starting from 1826. The extraction of the resources and subjugation of the people in this region by the colonisers and later by successive Indian governments has left an indelible mark of cultural imperialism triggering social haemorrhage. This changing position of the insider - outsider is not only a part of the political discourse but also the literature that is produced in this region. The analysis of the writings of Temsula Ao, Mamang Dai, and Anjum Hasan allows to look at the problem from two perspectives: the indigenous population experiencing anxiety and leading various violent campaigns to expel so-called outsiders, and the northeasterners facing similar racial prejudices when visiting mainland India and being subjected to derogatory racial slurs.

The relevance of the study is based on the fact that the BBC One channel is interesting as an example of a public service broadcaster which retains its image and competitiveness on the global media market. The goal of the research is to analyze the BBC One programming with regard to its forms of journalists and cameramens work. The semiotic methodology is chosen for interpreting sign systems, i. e. journalists texts or TV frames, as interconnected phenomena of culture. As a result, important sociocultural and philosophical elements integrated into the BBC One programming and determining its genre profile have been revealed. The social mission of the public broadcasting, combination of regional and metropolitan grounds, the prevalence of serious news genres are among them. Moreover, the programs are open for entertaining content including a foreign-made one. There is also a visual and aesthetic adaptation of pre-TV cultural forms of theater and the tabloid press, etc. Therefore, we can speak of a rather flexible programming policy of the BBC One, which can be a good model to develop strategies for public service broadcasters in other countries.

The article deals with the autobiography of Paul Claudel in his essay Ma Conversion written in 1913 at the request of readers. The readers believe that his biography no longer belongs to him, so the experience of his conversion should be of common property. It reveals his confessional retrospective traits and self-awareness in biographical literary works. Different types of confession, features of preaching, self-expression and autobiography are interwoven in the essay. The language of the essay is poetic and polysemantic. Distance is manifested in many ways in Claudels works, from the explicit biographical author - moi, Paul to the literary author - le pote. The writer begins in a confessional, indecisive manner, but as he becomes more professional, he resorts to the biographical author less willingly, more often remaining on the sidelines as a literary author. There is less open reflection in the collection of works Conversations (1926-1937), so the poet discusses reality, but he does not describe his feelings and actions as he did when he was younger. Claudel's autobiography combines the sacred and the secular, while the intimate and the public act as a preparatory stage to a multi-volume exegetic novel.

China and India interactions are dominated by strategic and business concerns. Despite the massive growth of bilateral trade between China and India, tensions over territorial and political issues have also grown, particularly in the last years. These effects are mediated and often inflamed by media depictions and perceptions of these tensions. India and China are both aware that peace and cooperation are essential. But it seems some media are more intent on fanning the flames than focusing on the ties that bind the two ancient civilizations. The media can play a constructive role in promoting mutual understanding. This paper deals with different areas of bilateral competition and convergence covered by the media as well as discusses the key differences between the Indian medias coverage of China and the Chinese medias reporting on India of the last years and especially in 2020. The article proposes to discover the problems and perspectives of the Indian media in India-China relations today.

The current issue of information access for different nations within one state is examined. The media of Quebec, the only francophone province of Canada, give us a clear example. However, Russian scholars almost disregard this domain. Therefore, the research is based on the Canadian works (M. Brunet, A. Beaulieu and J. Hamelin, W.H. Kesterton) in French and in English. The Royal Commission on Newspapers Report (1981), which described two separate media systems (French media and English media), was used as well. The focus is on the Franco-Canadian national problem and its influence on Quebec media historic evolution. This process moves from bilingual editions (two first newspapers were published in French and in English simultaneously) to modern monolingual media system. Through comparative analysis, the relationship between media bilingualism and media monolingualism in Quebec of 18-21st centuries is examined. Quebecs modern information politics can be defined as media regionalism (French language and specific Quebec content). Media regionalisms object is to resist federal doctrine one country - one nation with two languages, the base of Official Language Act (1969). As a result, the absence of traditional federal official media bilingualism in Quebec, which tries to save its national heritage by media regionalism, was discovered.

The novel I Almost Forgot About You by Terry McMillan, which deals with the problem of finding your own identity by studying the components of personality and the context in the formation of identity, is examined. African American feminist literature consists of common themes like sense of being different, managing multiple selves and quest for identity. Terry McMillans works represent African American female characters struggle for self-realization that help them in better understanding of the present and planning for the future by reestablishing their identity. The predicament of Georgia, protagonist of the novel, is that she has lost selfhood after subsequent divorces. In due course of time, her role in the family becomes diminished; also she loses interest in the professional life. Her aimlessness and strong desire to restore self leads her to search for male companion among her old boyfriends. She believes that self-satisfaction is possible with exploration of self for that she decides to go on a train trip and tries to focus on nurturing the hobby of woodwork. It helps her in regaining her internal and external self. Thus, the leitmotif of the novel is the search for your own identity as an attempt of inquiry for the destined future.

The article provides an analysis of the Russian citizens patriotic education taking into consideration the generation characteristics. The state patriotic education programs have been aimed at these audiences for the past twenty years and included special patriotic mass media activities. The authors apply to the theory of generations and identify the features of the Russian various age citizens' patriotic ideology and its correlation with state instruments and measures for patriotic education through the media for four periods (2001-2005, 2006-2010, 2011-2015, 2016-2020). The study addresses the mass media role and functions in public opinion forming; the research also comprises the exploring interaction between general state patriotic education and media as a patriotic idea guide for different generations groups. Generalizing their scientific results, authors conclude that it is necessary to revise the mass media role in patriotic education and formation of young patriots in future state programs, based on the peculiarities of the new generations vision of the world. The article includes the proposals and recommendations for the special mass media events promoting patriotic idea in new media to secure the most effective results of such programs implementation in the future.

A novel detailed analysis of a page from Chukokkala , Korney Chukovsky's handwritten miscellany with drawings by Yuri Annenkov, dated March 1923, is given. Involvement of archival sources makes up the history of the drawing creation. It turns out that Annenkov worked at the page of the miscellany and the portrait of Leo Trotsky at the same time. The analysis of the stylistic features of the drawing reconstructs the elements of the literary life of the 1920s. The study of the depicted persons clarifies the circle of friends and associates of prominent cultural figures of the first post-revolutionary decade. The article provides little-known biographical information about the characters depicted in the drawing. It specifies how Annenkov met Gorky's closest associate, the prominent public figure Albert Pinkevich. The author highlights little-known facts of friendship of A. Pinkevich, Boris Pilnyak, a Soviet writer, and the avant-garde artist Boris Shaposhnikov. The history of the creation of graphic portraits of Soviet writers made by Annenkov is considered. In conclusion, the page of the handwritten miscellany, and Chukokkala as a whole, are presented as a unique monument that captures the living passage of time.

The article is devoted to the reconstruction of the idea of the white version of the second volume of A.N. Tolstoy's trilogy The Road to Calvary , created by the writer in the emigration in 1921-1923. This idea was fundamentally different from the one embodied by A.N. Tolstoy after his return to the USSR. Materials published in 1918 in the Rostov magazine Donskaya Volna ( Don Wave ) are used for the reconstruction. Those materials help to identify Colonel V.K. Manakin as a supposed prototype of one of the main characters, Vadim Roshchin, in the final chapters of the first volume of the trilogy and in the first chapters of the second volume of the white version. The prototype makes it feasible to reconstruct the possible idea of the second volume of the white version of The Road to Calvary . A.N. Tolstoy's notebooks are also used for the reconstruction. The reconstruction of A.N. Tolstoys plan turned out to be more logically consistent compared to the only existing Soviet version of the second and third volumes of the trilogy The Road to Calvary. Both Roshchin and Telegin, in the emigrant version of the first volume of the trilogy act as ideologists of the White Movement, find themselves in the White Armies of Southern Russia, and then in exile. The study shows that the transition of the main characters to the Red Movement in the Soviet version of The Road to Calvary is artistically unconvincing, since it does not correspond to the original plan of A.N. Tolstoy, embodied in the emigrant version of Sisters .

The article deals with the I.S. Turgenev’s last cycle Poems in prose which title has been changed several times throughout his work on it. The cycle put together the main aspects of writer’s previous creative works which led to the continuous search for the most suitable title to fully express author’s intentions: from the original Posthuma which is focused on the life after death experience to the last Poems in prose which additionally underlines the uniqueness of the form used for Turgenev’s last creative work. The study reveals the main theories on the cycle’s titles and the reasons behind their changes as well as suggests the own vision of the evolution of concepts “after death” and “senile” which are seemed to be bound in writer’s world view. The sequential analysis of the existing cycle’s titles undertaken in the current research finds the logic of Turgenev’s title transformations where the fear of death is gradually replaced by the thoughts of future new life which will be continued beyond the Earth life. The significance of the research lies in the absence of the unified approach to the naming and understanding of the Turgenev’s last cycle while the title of the book was considered to change the work’s perception even by Turgenev’s contemporaries. The scientific novelty of the work is added by using the author’s French edition of Poems in prose which up until now hasn’t been studied properly. It allows to expand the material of the research and look thoroughly into Turgenev’s strategy of naming his final cycle which was preserved for the foreign publication as well.

Presentazione della sezione “«We Should Never Write Without Feelings». Studi su William T. Vollmann”. Introduction to the monographic section “’We Should Never Write Without Feelings.’ Studies on William T. Vollmann”., ENTHYMEMA, No 23 (2019)

Es un hecho conocido que una parte importante de la narrativa de Horacio Quiroga interroga los adelantos científico-tecnológicos de su tiempo. Este aspecto de la literatura de Quiroga, que ha sido estudiado por Beatriz Sarlo, se complementa con otro que casi parece contradecirlo : si, por un lado, la narrativa de Quiroga consta de un polo moderno que consiste en la exploración literaria de los avances tecnológicos que caracterizaron las primeras décadas del siglo XX, por otro lado, también se...

Susana Soca abre su poema “En un país de la memoria” con elsiguiente epígrafe : I think the chief reason we have so little joy is that we take ourselves, too seriously.Thomas Merton “En un país de la memoria” es el poema que da título a uno de los libros de esta autora, ocupando además una posición central en él. De modo que podemos considerarlo nuclear en la obra. ¿Qué importancia adquiere, entonces, la cita de Thomas Merton ? ¿En qué medida un epígrafe puede modificar o completar un texto ?...

Arranque El primer libro de Washington Cucurto (Quilmes, 1973) se abre con un desalojo —el de Ricardo Zelarayán. « A las diez / de la mañana recitando sus mejores / poemas / asustando a cajeras y viejas / con su aullido / Ricardo Zelarayán / era arrastrado de los pelos / por los guardias de seguridad / por tirar las espinacas / al piso, / la bandeja de los kiwis / al piso, / por destapar los yogures / de litro./ Ricardo Zelarayán / era arrastrado de los pelos / por andar como un demonio / ent...

Poeta, critico literario, traductor de varias lenguas, argentino de origen judio, vive en Espana desde 1986. El esqueleto biografico de Edgardo Dobry parece responder a la condicion de « extraterritorial » a la que se referia Steiner para caracterizar a los escritores que « carecen de patria », autores plurilingues cuya lengua de escritura revela la « posible existencia de un idioma mixto “subterraneo”, “preexistente” a la localizacion de diversas lenguas en el cerebro articulado ». Steiner s...

Lo que hemos escuchado y atendido hasta aqui, hoy, ayer, sobre todo en la propuesta poetica esbozada por Sergio Raimondi en su ensayo sobre Aldo Oliva, demuestra que las singularidades, su pasion, anulan subrepticiamente las nominaciones. Anoche en la television una orquesta sinfonica y un coro numeroso. Subitamente, me hubiera gustado ser uno de esos interpretes solitarios para si, a pesar de la armonia, anonimos, a pesar del brillo sonoro… un violin, un triangulo… apenas… tres grillos… como...

La creacion tanto en Borges como la que se le endilga a Dios, es una proyeccion mental, cuya autoria fundamental, a veces es el hombre, y otras veces, nos llega desde el fondo de las ansias religiosas que reverberan en la eternidad, segun lo imagina y lo impugna Borges en sus divagaciones. Pero ambas instancias : la del Creador y la del hacedor tienen un lugar de engendramiento o hechura estetica, en cuyo espacio de infinitas combinaciones lo creado por el Supremo arquitecto se proyecta como ...

El quantum formal resiste en la sociedad de medios y fines, es la potencia de la forma, la técnica la que resiste e insiste, nos hace mirar para otro lado, descentrados pero certeros. Cómo mirar la realidad del cuerpo, de la memoria en la cultura, de la sensación que nos define en el contacto con el mundo. Cómo ahuecarla en el doblez del lenguaje del sí mismo, desalojado, para reapropiarse en el poema de esa tierra que no existe. La paradoja de la escritura que la poesía dicta en su punto de ...

Mis cuentos no tienen estructuras logicas. A pesar de la vigilancia constante y rigurosa de la conciencia, esta tambien me es desconocida. En un momento dado pienso que en un rincon de mi nacera una planta. La empiezo a acechar creyendo que en ese rincon se ha producido algo raro, pero que podria tener porvenir artistico. […] Sin embargo, debo esperar un tiempo ignorado : no se como hacer germinar la planta, ni como favorecer, ni cuidar su crecimiento ; solo presiento o deseo que tenga hojas ...

Wáshington Cucurto es el nombre que rubrica una docena de libros publicados en los últimos ocho años : en principio, siete son de poesía y seis de prosa. Digo en principio, porque en el caso de Cucurto (y no es, por cierto, un caso único en la poesía argentina contemporánea) dista de estar claro dónde acaba la prosa y dónde empieza la poesía. Ahora bien, ¿quién es Wáshington Cucurto ? Cedamos la palabra a Santiago Vega, padre biológico de la criatura, que presenta así a nuestro autor en el ep...

1. Quién sabe si cuando sea el momento, salvo que no llegue, de darle un desarrollo más largo y en lo posible mejor organizado a esta serie de anotaciones que vengo haciendo en el marco y al margen de un estudio vagamente general sobre poesía escrita en Argentina durante los últimos cien o doscientos años, digamos de Lavardén para acá, pasando por Darío, la imagen mental —vista muchas veces en MTV, ahora en Internet— de un recipiente de plástico tipo tupper pasando de una mano a otra va a ten...

Si tuviéramos que darle una « fecha de inicio » a la « nueva » poesía argentina —el adjetivo, « nueva », claro está, es provisorio, obligadamente perecedero y, aun en este caso, un poco anacrónico, toda vez que estamos hablando de algo que empezó hace ya más de veinte años—, aun a conciencia de que esa fecha será una línea trazada sobre la corriente de un río cuyo mismo movimiento corregirá, y dejando de lado, por lo menos por esta vez, los fastidiosos « antecedentes » (pero necesarios si pen...

An Interview with Frederick Luis Aldama.

The article deals with Nordic literature and discusses the question of whether the dystopian novel is an emblematic genre of the Anthropocene. Starting from an overview of the genre with regard to the Anthropocene narratives and aesthetics, it is argued that the dystopian novel seems at first glance to produce the metanarrative of the Anthropocene, which is supposed to explain the present as a zero point from which man either creates a better future or descends towards dystopia. On closer inspection, however, it becomes apparent that, on the contrary, even early dystopias tend to critically reflect and transgress the anthropocentrism and normative temporality of the Anthropocene. Drawing on evidence from a classical dystopian novel from the first half of the twentieth century, Karin Boye’s Kallocain, and the works of two younger writers, Johanna Sinisalo and Johannes Anyuru, it will be shown how these tendencies become established and reinforced. By interweaving utopia / dystopia with the here and now, these novels become the expression of ‘heterotopian thinking and writing,’ which is to be understood as a practice of “staying with the trouble” (Haraway 2016) and as an art of living on the damaged earth.

Marina Grishakova / Maria Poulaki (eds.): Narrative Complexity. Cognition, Embodiment, Evolution. Lincoln, NE: University of Nebraska Press 2019 (= Frontiers of Narrative Series). 468 pp. USD 75.00. ISBN 978-0-8032-9686-2

Report on the Conference “Graphic Realities: Comics as Documentary, History, and Journalism”, Justus-Liebig-University Giessen / International Graduate Centre for the Study of Culture (GCSC), February 22-23, 2018

This essay addresses rhetorical narratology’s approach to widely disparate scales of time and space in narratives of emergence, in which microevents without centralized agents or clear causal relationships produce macroscale effects. It uses rhetorical narratology’s a posteriori approach to address the difficulty of narrating causality between these scales and resists systematizing relationships of scale. Rhetorical narratology worries less about conditions of scalar interaction that undermine narratability, focusing instead on contingencies that mediate these scalar engagements. In particular, it explores hybrid relationships between rhetorical modes of narrative and lyric that emphasize interrelationships between event causality and conditions of being that are key in narratives of emergent behavior. If truth value is determined by ways that narratives establish coherent relationships between narrator and narratee in terms of purpose, then a rhetorical approach to scale and emergence considers how individuals use available resources to describe and explore relationships between different scales to achieve certain purposes.

The PathoGraphics project at Freie Universität Berlin is the first and, up to now, the only research group at a German university that focuses on illness narratives in both literature and comics. Funded since 2016 by the Einstein Foundation Berlin, PathoGraphics pursues research into the narrative and visual strategies, aesthetic choices, and ethical implications of representations of illness and disability in both media in order to foster a dialogue between literary and cultural studies, comics studies, critical health studies, the medical professions, and the wider society. By giving brief exemplary readings of excerpts from four English- and German-language comics, the article introduces the project’s key questions, reports on both past and upcoming academic events and public activities, and outlines the project’s publications.