Search

Since her debut in 2012, Fukazawa Ushio has become a critical voice in the Japanese literary scene, writing about social issues including hate speech against Zainichi Koreans, abuse of migrant workers, gender inequality, and misogyny. One of the significant aesthetic features of her work is the use of food and foodways to explore these issues. This article examines the short story collection The Matchmaker and the five-part food essay "When Yi Tongae Eats," focusing on their sensorial elaboration of Zainichi Koreans' experiences of discrimination and desire to belong, sitting both at the intersection of gender and ethnicity. Fukazawa's sensorial contemplation of the affective values associated with cooking, eating, and drinking, I argue, generates a sense of intimacy among characters and between text and reader that ultimately enables us to expand our understanding of the complexities of Zainichi Korean identity and their place in contemporary Japan. [ABSTRACT FROM AUTHOR]

This paper examines Philip Huynh's short story collection The Forbidden Purple City in relation to its engagement with the nativity–territory–citizenship triad on which Western socio-political communities found the principles of affiliation of their members. First, the Canadian reaffirmation of a discourse of national benevolence is contextualised to later draw on how the collection is nurtured by boundary-crossing ethics that interrogates any sequential relation between past and present, Vietnam and Canada, which usually structures refugee narratives. It is argued then that disruptive and productive time/space interconnections delegitimate any simplistic representations of easily assimilated grateful refugees, fracturing the convenient narration of Canada as a benefactor concerned with old and new international humanitarian causes. The newness of Huynh's stories relies on their mobilisation of the discourse of state citizenship through exceptional migrancy and its disruptive border nature. In contrast to premises of birth and geographical territory, which lose ground as backbones of any affiliation, citizenship appears incomplete and processual. The stories use the precarious performativity of collective homogeneity expected of a former settler colony, like Canada, to launch agency and resistance to state homogenisation, and de-institutionalise the refugee subject to critically intervene sovereignty and political subjectivity. Finally, the stories evince that Canada's social spectrum is ideal to explore the threshold opened by the adjacency of sameness and otherness embodied by Huynh's protagonists. Their condition as diasporic refugee subjects augments the transformative potential of new refugee narratives, in which literal and metaphorical polymorphous borders unveil the bases of the contemporary Canadian socio-political community. [ABSTRACT FROM AUTHOR]

This paper analyzes and interprets the prose of Ernest Koliqi including his short story collections Hija e maleve (“The Shadow of the Mountains”, 1929), published in Zadar; Pasqyrat e Narçizit (“The Mirrors of Narcissus”, 1934), published in Bari and Rome; Tregtar flamujsh (“Flag Merchant”, 1935), published in Tirana; and the novel Shija e bukës së mbrume (“The Taste of Leavened Bread”, 1960), published in Rome. Pasqyrat e Narçizit/“The Mirrors of Narcissus” (1934) is written in a style between poetry and prose. In Hija e maleve/“The Shadow of the Mountains” (1929), the author remains truthful about Albanian traditions. The theme of this collection portrays the main elements of the Albanian way of living and their mentality. The central aspect of Koliqi’s works deals with the drama of the homeland, the struggles of the Albanian intellectuals in general and those of Shkodër in particular. Most stories present cohabitation with mythological creatures; however, there is also Tregtar flamujsh/“Flag Merchant” (1935) which shows modern symbolism with an element of psychoanalysis. In Shija e bukës së mbrume/“The Taste of Leavened Bread” (1960) Koliqi writes about life, the struggles, and the atmosphere of Albanian life. This novel is filled with patriotic, social, and moral values of the Albanian people, even though the main character of the story lives in Albania and abroad. Ernest Koliqi’s characters are typical Albanian people, and the spirit of his works is also of the typical Albanian spirit. [ABSTRACT FROM AUTHOR]

The article focuses on a reconstruction of how British writer H.H. Munro, also known as Saki, created the short story collection "Beasts and Super-Beast." Topics discussed include the history of Munro's writing career, his focus on writing stories about the character Clovis Sangrail and his publisher's proposal to use "The Chronicles of Clovis" as the title of the collection.

The field of postwar Japanese and international fiction has seen an expanding corpus of texts revolving around kimono. Many works, while tapping into the intricacies of sartorial traditions, contain actualized narratives of young girls and women experiencing or remembering kimono in prewar, postwar, and contemporary Japan. In these stories, the kimono—ever persisting, at times resisting—helps the protagonist to discover self-confidence and agency as they deal with loss, social expectations, family, and national history. This article focuses on Hayashi Mariko's short story collection Stories about Kimono (Kimono o meguru monogatari, 1997) and her more recent novel The Imperial Visit to Ohara: The Story of an Obi-Making Family (Ohara gokō: Obi ni ikita kazoku no monogatari, 2014b). These two narratives work within all of these parameters and illustrate how authors can write consistently about the multiple meanings within kimono. Through analyzing how Hayashi describes kimono outfits and their implications, this article also explores how, as a literary device, the kimono connects with the concept of reality effect; emphasizes the power of the feminine gaze in Japanese literature; and reveals how the limits between fiction and reality can be broken down. When inspired by the specific mode of dress that is kimono, writers can prompt new inspirations for women to create their own stories with it, discarding the cliché of 'yamato nadeshiko' (lit: Japanese pink carnations, used to evoke Japanese demure, feminine beauty) to explore darker and/or more embodied experiences. [ABSTRACT FROM AUTHOR]

The aim of the present study is as follows: The first part consists of a study of Kattan's transcontinental trilogy, highlighting its leitmotifs, narrative style, and especially the socio-historical conditions it reflects, with Adieu, Babylone (1975) receiving particular attention. I will then study one of Kattan's latest novels Le gardien de mon frère (2003), followed by two collections of short stories, an earlier one, La Reprise (1985), then a recent title, Je regarde les femmes (2005), none of which have been translated to date. Having done so, this article will move on to tie the themes of exile and expatriation as reflected in Naïm Kattan's fiction, notably in the trilogy, to the writer's own professed views pertaining to the passage of his multiple being across various nations. [ABSTRACT FROM AUTHOR]

Deconstructing meanings and their accepted interpretations are the primary goals of stylistics. Feminist stylistics is mainly based on feminist theories, which are particularly interested in patriarchal norms that marginalize and degrade women. This study examines the feminist discourse in Ahdaf Soueif's short story collection Aisha, which is one of the significant works portraying Arab women in a patriarchal culture. Asian women's difficulties are covered in the feminist book Aisha. By putting gender issues at the center of the textual analysis, feminist stylistics exposes the untenable assumptions of traditional stylistics. This feminist approach highlights gender discourses in various texts, including linguistic and thematic disparities. In light of this, the study will explain feminist stylistics, provide a brief overview of Ahdaf Soueif's biography, and use a feminist stylistic approach to Soueif's stories. The author hopes to demonstrate how language's treatment of gender reflects patriarchal culture. In order to evaluate sexism and patriarchal issues in the stories and how point of view, agency, metaphor, or transitivity are tied explicitly to gender by separating women's writing habits from men's writing, this study will use feminist stylistics to analyse the stories at word/phrase, sentence, and discourse level. [ABSTRACT FROM AUTHOR]

This study investigates the translation of Emirati culture-specific items (CSIs) into English, a rarely discussed topic in Arabic translation studies. It focuses on a collection of short stories, Dubai Tales, authored by renowned Emirati author Mohammed Al Murr and translated into English by Peter Clark. The short stories vividly portray Emirati daily life, relationships and cultural values, making it an ideal set of data for a case study of translation strategies. With the emergence of the United Arab Emirates as a global multicultural hub, the demand for effective translations of Emirati literature, including CSIs, is growing. Translating effectively will not only ensure linguistic accessibility but also facilitate better worldwide communication of the unique cultural nuances woven into Emirati narratives. The study conducts quantitative and qualitative analyses of Clark's English translation by drawing on Newmark's (1988) cultural categories and Davies's (2003) framework for translation strategies. The analysis revealed that Clark used globalisation, a domestication strategy, to translate most CSIs into English as well as preservation, a foreignisation strategy, to infuse exotic texture. This strategy reflected a careful balancing act aimed at reaching a wide audience while maintaining cultural elements. This study thus offers invaluable insights highlighting the dynamic relationship between culture and language in literary translations, with a special focus on the Emirati context. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

The speech act commanding, which is part of the speech act directive, is one of the grammatical materials commonly taught in foreign language teaching to develop the form of scientific sentences. The research aims to look at command speech acts in a collection of short stories by Annie M.G. Schmidt's aim is for readers to understand and increase their knowledge about command speech acts in Dutch contained in short stories as we can produce examples of speech acts. This research uses qualitative enhancement with data collection techniques. This research uses listening and note-taking techniques by listening to the use of Dutch and noting the speech forms of the characters in the short story collection by Annie M.G. Schmidt. The results of the analysis show that the speech acts used in this research are illocutionary because the collection of short stories by Annie M.G. Schmidt contains various forms of speech acts such as assertive, directive, expressive, commissive, and declaration. Based on 5 types of short stories by Annie M.G. Schmidt, namely the short story De Reus en De Draak, the short story Het Meisje dat haar naam kwijt was, the short story De Kikvorst, the short story Het neurievolkje and the short story Het beest met achternaam, there are speech acts carried out directly or indirectly, but there are more direct speech acts than acts said indirectly. [ABSTRACT FROM AUTHOR]

Anna Vörös's collection of short stories, Vadoma (2022), offers a completely novel perspective on refugees in contemporary Hungarian literature. The collection focuses on Vadoma, a young refugee girl of Syrian origin, who is the first-person narrator of most of the short stories. The reader can follow the young girl's path from Aleppo to Budapest as she faces dilemmas and problems. The main issue of our hero is the fact that she is stuck between two worlds, as her old life and city of origin do not exist anymore, but Budapest has yet to become her home. Her mother tongue and words are no longer enough to express her experiences, but she has not learnt a new language yet. Mariangelo Pallodino's concept of "islandment", which refers to landing without arrival, expresses Vadoma's situation perfectly. The present study examines whether Anna Vörös's short stories can be read in the context of refugee literature, and it looks at how the figure of the refugee appears in them. Special attention is paid to the themes of cultures, religions, languages, and the in-betweenness of identities. [ABSTRACT FROM AUTHOR]

Cătălin Dorian Florescu's main tropes had been traditionally confined to the stylistic regime of the novel until 2017, when he opted for a short stories format in his volume Der Nabel der Welt. My paper will investigate the themes and dynamics of Florescu's dialect of displacement, cultural transfer and the search for a homeland in this collection of short stories, while also paying close attention to the framework of diasporic identity as it was projected in his earlier works. Drawing on contemporary theories concerning displacement and diasporas, my contribution seeks to explore the specific manner in which these issues calibrate Florescu's original perspective of what it means to have a coherent individual identity against the fragile background of a European one. [ABSTRACT FROM AUTHOR]

Jamaica Kincaid's first book and first short story collection At the Bottom of the River (1983) is a work which offers the reader a pithy and lyrical style by which the author reflects the merging of the real and imaginary world of a young Antiguan girl growing into adulthood. The curt stories in the collection are inter-related since they relate to some slices of the life of an unnamed female narrator who is the main character in all the stories. The aim of this article is to depict the most significant features which are believed to prove that the work can bear the epithet 'prose poem'. During the study on this research paper, it has been observed that the work can also be considered to be a type of 'poetic prose'. Yet, considering that both 'prose poem' and 'poetic prose' are close to each other in the sense that both of them are the genres "jumping the fence" -- a phrase used, here, metaphorically and in the context of genres free from the restraints of poetry and prose--; in other words, both genres exceed the boundaries of both poetry and prose, they are hybrid genres and therefore, it has been seen no drawbacks of analyzing Kincaid's collection in the perspective of 'prose poem'. Briefly, the aim of this study is to reveal the poetic features in the work written in prose, through which one would be able to define it as a 'prose poem'. When the images, metaphors, similes and symbols are explored in the stories in the collection, it has been observed that although these figures of speech have different functions, they mainly serve to illustrate the main character's quest for identity and her depiction of her self which she gains at the end. For this reason, the study concurrently highlights the theme of search for an identity which is revealed in Kincaid's book by means of the use of the figures of speech such as images and symbols. [ABSTRACT FROM AUTHOR]

Based on interviews/conversations by the second author with Peter Green, this stimulus article is presented as a collection of anecdotes and short stories in the style of the best-selling 'Harvey Penick's Little Red Book'. It captures the golf coaching knowledge, with its jargon and lingo, of the legendary John Jacobs who had a strong influence on the philosophy and methods of arguably the three most famous golf coaches in the last 30 years (Hank Haney, Butch Harmon and David Leadbetter). Green spent more time learning directly from Jacobs than any other golf coach. Working both with Jacobs and on his own, Green has helped not only some of the greatest golfers in history, but also tens of thousands of golfers who play for fun. [ABSTRACT FROM AUTHOR]

The current study is aimed to find out the use of domestication and foreignization strategies in Manto's short stories. Venuti (1995) states that the domestication strategy makes a translator invisible in the process of translation by confirming to target culture values through the extensive use of target text terms for cultural items. On the other hand, the foreignization strategy makes the translator visible by promoting the source culture values by rendering source text terms for cultural items. The current study explores the two short stories i.e. Toba Tek Singh and Khol Do written by Manto and translated into English. The study highlights the issues of cultural translation. The study aims to provide significant insight into the existing literature about the use of domestication and foreignization to promote the translator's visibility in Urdu-English translation. A detailed comparative textual analysis of the aforementioned short stories suggests that the translator uses both strategies for the translation of cultural items. A thorough reading of the short stories suggests that the translator finds cultural equivalents in the target text for less culturally loaded words and employs the domestication strategy, making the translator invisible. However, the translator opts for the foreignization strategy for certain culture-specific terms that are peculiar to the source culture and have no cultural equivalent in the target culture, making himself visible through the rendering of source text items into the target text. The study concludes that the most dominant strategy used for the translation of culture-specific items in Manto's short stories is foreignization which is in line with the framework given by Venuti (1995) promoting the translator's visibility by maintaining the source culture values and rendering source text lexical items into the target text. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article considers how a recent wave of Latin American short fiction captures with immediate topicality new forms of transversal political subjectivity engendered by the international feminist reinvention of the strike in the 21st century. Drawing on Verónica Gago's theorization of the political cartography of feminist potencia (power), alongside the work of Silvia Federici, Rita Segato and Sayak Valencia, it considers how the short story form facilitates a strategic recognition of interconnected violences perpetrated against women and feminized bodies, "mapping forms of violence based on their organic connection, without losing sight of the singularity of the production of the nexus between them" (Gago, 2020, p. 58). In particular, the article examines two exemplary short story collections, Cars on Fire (2020) by Mónica Ramón Ríos and Things We Lost in the Fire (2017) by Mariana Enríquez, considering how these writers repurpose the potential for socio‐criticism embedded in the fantastical short story by offering a multi‐focal critique of how patriarchy and gender violence interact with the structural inequalities unleashed by neoliberal capitalism. The article also considers how these riotous collections mediate the transversal fabric of communitarian struggle in feminist imaginaries, drawing narrative energy from the localised proliferation of neighbourhood assemblies and solidarity networks, while speaking to transnational feminist movements more broadly. [ABSTRACT FROM AUTHOR]

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

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts 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.)

The consistent presence of historical narratives within Mary Shelley's oeuvre is remarkable: she composed several short stories and two novels set in the Middle Ages, not to mention the biographical profiles of eminent literary figures of the past she penned for Dionysius Lardner's Cabinet Cyclopaedia. Far from suggesting either the author's escapist intentions or her mere adherence to the literary fashion of the time (popularized by Walter Scott), this essay sets out to investigate the crucial role and the responsibility Mary Shelley attached to history. Alert to William Godwin's treatises − in particular, his short essay 'Of History and Romance' − Mary Shelley firmly believed that, through the knowledge of the past, one could develop 'a sagacity that can penetrate into the depths of futurity'. By focusing on Valperga, this article examines the writer's strategic employment of history as an effective instrument to reflect on current-day problems. [ABSTRACT FROM AUTHOR]

Copyright of Alustath is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 University of Sharjah Journal for Humanities & Social Sciences is the property of University of Sharjah - Scientific Publishing Unit and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper delves into the portrayal of Dalit everyday experiences in Ajay Navaria's short story collection, Unclaimed Terrain (2013). The study examines how Navaria's narratives draw from both real-life incidents and fictional storytelling to shed light on the struggles faced by Dalits in both rural and urban contexts. Through these stories, Navaria portrays the struggles of Dalits in rural and urban settings, critiquing the failures of modernity and the secular nation to provide social equality. The paper discusses how Navaria navigates the tensions between social activism and the art of literature, particularly within the context of Dalit literature. His stories reveal the complexities of the urban Dalit subject, caught between the allure of economic opportunities and the persistent anxiety of caste-based discrimination in the urban spaces. Furthermore, the study explores how Navaria's narratives reflects upon the failures of modernity and the secular nation in delivering on their promises of social equality. Despite the rhetoric of equality and freedom, the contemporary nation-state continues to marginalise Dalits, leaving them to confront fear and exclusion in their everyday lives. In conclusion, Navaria's Unclaimed Terrain offers a compelling critique of the prevailing socio-political landscape. By delving into these complex themes, Navaria's stories call for an inclusive public sphere and underscore the need to redefine the concept of nation as a daily referendum based on shared suffering and collective consensus, ultimately paving the way for a more equitable and just society. [ABSTRACT FROM AUTHOR]

Voices That Sing Behind The Veil: Anthology of Short Stories from Africa and the Diaspora, edited by Ivor Agyeman-Duah, is a comprehensive collection of 56 short stories from various African countries and beyond. The anthology includes stories from Anglophone and Francophone writers, as well as contributions from the Caribbean and the African American heritage. The editor emphasizes the importance of including diverse voices and perspectives in global conversations. The book offers a valuable resource for readers interested in African literature, cultural and social engineering, and storytelling. [Extracted from the article]

Diction, Short Story, Essays The aim of the research was to find out the diction used by students in composing short stories. The research method used is descriptive qualitative method. The data source for this research was short stories written by students of class XI at SMA Negeri 10 Depok in the 2021/2022 academic year. The results of the study obtained 10 requirements for the accuracy of the use of diction using the percentage technique. Based on the research conducted by the researcher, 81 data were obtained from 42 students' short story essays. Of the 10 types of diction accuracy requirements analyzed, the results of inaccurate use of diction were as follows: use of general and special words 11.11%, use of connotative and denotative words 27.16%, use of almost synonymous words 35.81%, use of idioms 4.93%, continuity of word choice 11.11 %, and the use of the word senses 9.87%. From the results obtained, it can be concluded that class XI students used a lot of synonymous diction in the short story essays they made and only a few found inaccuracies, most of them were correct and appropriate for their use in short story essays. [ABSTRACT FROM AUTHOR]

Anchoring on the core notions spiraled out of a close reading of Hélène Cixous's "The Laugh of the Medusa" (1975), this article intends to interpret four short stories of Vandana Singh from the anthology The Woman Who Thought She Was a Planet (2008) by using écriture feminine as a tool of analysis. The selected stories belonging to the genre of speculative fiction respectively oscillate around four women characters and leave us with an emerging pattern of searching for a lost "self." The ingenious story telling with elements of the imaginary addresses subtle yet complicated gender issues. Apropos to this, compartmentalized into three primary sections this work develops an argument toward recognizing an unconventional and original literary tradition in the making that might partially realize the intricate nuances of woman's writing within a South-Asian (Indian) context. [ABSTRACT FROM AUTHOR]

This essay argues that Glenway Wescott — an American author widely read in the early twentieth century but virtually unknown to literary scholars today — poses a problem for many of the narratives we tell ourselves about both queer identity and modernist literary history. On the one hand, the wandering, nonlinear plots of much of his fiction run counter to the narratives of urban migration, rural stasis, and ex‐urban return that shape most scholarship on sexual geography. On the other, Wescott's tendency to borrow aesthetic practices from a wide range of literary schools and movements makes it difficult to locate him within the narrative of American literary history. Reading Wescott's writings — particularly those in his short story collection Good‐Bye Wisconsin (1928) — as examples of what the essay terms queer drift, the author argues that Wescott's life and corpus destabilize the narratives we often use to make sense of both modern sexual identity and modernist literary aesthetics. In fact, this is why his work warrants more critical attention than it has traditionally received: it provides us with new ways of thinking about the relationship between queerness, geography, and narrative form. [ABSTRACT FROM AUTHOR]

This article analyzes “Cadáver,” a short story in the collection Barrio bonito (2015), by Venezuelan author Luis Freites. It argues that, rather than creating an afterlife for the dead characterized by processes of mourning, commemoration, and memorialization, the story captures the body’s afterdeath: the slow decomposition and transformation of the corpse from organic matter to bones and dust. Through the staging of an aesthetic gesture described by Maikel—the story’s protagonist—as “mirar pa’ dentro” (to look inside or to look into one’s insides), a temporality determined by the tempo of decay, and the multisensory attack of leaky dead matter dripping from the corpse, the afterdeath that materializes in “Cadáver” creates what I, following the work of Michael Rothberg and Venezuelan poet Igor Barreto, call “networks of implication.” These networks build connections between bodies both human and nonhuman based not on empathy, compassion, or familiarity but on contact, contagion, and unsettling moments of intersection and recognition. I propose that, in doing so, they introduce a form of relationality that is not mediated or circumscribed by grief, and that demands a radical renewal of political vocabularies and a reorganization of social life that has, as its core, the collectivization of death. [ABSTRACT FROM AUTHOR]

This article attempts to study a selection of short stories by the contemporary Canadian writer Alice Munro (1931–) focusing on the theme of childhood. It examines the representation of childhood as remembered by adult narrators. The research approaches the stories through the theories of narratology and psychoanalysis. The concepts of the narrator in addition to Freud's theorisation about childhood memories are especially utilised to explore the childhood memories of the adult narrators. The stories selected for this study are 'The Ottawa Valley' (1974), 'Chaddeleys and Flemings' (1979), 'The Progress of Love' (1985) and 'The Eye' (2012) with adult narrators. [ABSTRACT FROM AUTHOR]

This paper examines gender dynamics in Mueenuddin's short story collection In Other Rooms, Other Wonders (2009). Using textual analysis as the method, it analyses two stories, "Provide, Provide" and "In Other Rooms, Other Wonders" to find instances where the boundaries of patriarchal gender constructs are pushed, and positive alternatives presented. The research employs Cornell's concepts of multiple masculinities, hegemonic masculinity and emphasised femininity as the main theoretical framework. Other feminist theories such as patriarchy, gender roles and intersectionality have also been utilised. The study reveals that Mueenuddin tends to destabilise the hegemonic status of masculinity at the hands of self-confident, aggressive, and ambitious women seeking to change their circumstantial reality. However, deeply entrenched patriarchal structures reclaim the space and relegate such women back to their socially defined position(s). [ABSTRACT FROM AUTHOR]

While postfeminism is typically associated with upbeat feelings, such as confidence and resilience, scholars have begun to examine the emergence of less positive feelings alongside the compulsory outward presentation of enthusiasm. This essay examines feelings of "stuckness" in two short stories—"Would Like to Meet" (2014) by May-Lan Tan and "Los Angeles" (2020) by Emma Cline—and how these feelings illuminate the affective regulation of postfeminism. It also makes the case that the short story is an adept form through which to explore the contradictions of neoliberal femininity and that women short story writers are utilizing the tendencies of the form—particularly in regard to the short story's ending—to re-create the lingering, non-cathartic feelings produced by the deteriorating promise of postfeminist culture. [ABSTRACT FROM AUTHOR]

Oriental literature in general, Vietnamese literature in particular, has many types of values, perspectives, new identities and unique similarities. With the desire to contribute to understanding and introducing more literary quintessence and for meeting the increasing demand for human culture in the integration period, we would like to introduce the research ‘Southern people and culture in Nguyen Ngoc Tu’s short story‘ based on a famous female writer of modern Vietnamese literature who has many books published and reprinted in her name. In order to conduct the research in a scientific manner, we combined the use of primary research methodologies such as classification statistics, meta-analysis and interdisciplinary studies (literature, culture, anthropology and history). ‘Southern people and culture in Nguyen Ngoc Tu’s short story‘ was drafted after proper research and survey of the writer’s published collections of short stories published from 2000 to 2020 focusing on the personality of people from the South and their relationship with culture. [ABSTRACT FROM AUTHOR]

This article focuses on some very short stories by Uday Prakash published as 'autobiographies.' Three of them are in the short story collection Tirich ("The poisonous lizard") first published in 1989; five autobiographical sketches are found in the collection Aur ant me? prārthnā ("And, finally, a prayer") first published in 1994. The focalization on the child character produces an indeterminacy that engages in a delightful game with the final ratiocinations of the first-person adult narrator, especially when the child faces traumatic experiences. In these micro stories, time, space and emotions scroll like a film, moving from within the memory and shaping the self in very mysterious ways. At a metanarrative level, writing appears as a journey on the path of memory, from the past towards the present and perhaps even leaping into the future. [ABSTRACT FROM AUTHOR]

Existentialism is a philosophical movement that got a prominent place in the intellectual history of Europe after First World War. It's a philosophy of human existence or self-affirmation that tries to find answers to many questions that arise in human mind about one's existence. In this theory, instead of collectivity, the individuality of human is important. This philosophy considers the freedom of the individual as the first condition for realizing the importance of human existence. Loneliness, stress, deprivation, helplessness, Absurdity, Alienation are some prominent features of literature influenced by this philosophy. Nayyar Masood is a famous and important name of contemporary Urdu Fiction. His 3rd collection of short stories "Taos Chaman ki Meena" was published in 1997. All short stories of this collection is written under the influence of existentialism. [ABSTRACT FROM AUTHOR]