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Copyright of Journal of German Language & Literature / Istanbul Üniversitesi Alman Dili ve Edebiyai Dergisi / Studien zur Deutschen Sprache und Literatur is the property of Istanbul 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 Antik Tanulmanyok is the property of Akademiai Kiado 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.)

Since the beginning of the 21st century, young adults' literature has seen a modus change, transitioning from realistic literature of the problem novel genre to graphic problem novels. This transition stemmed from changing reading habits and literacy levels, with younger generations seeking visuality in addition to texts. The aim of this article is to examine and map out the genre of the middle grade graphic problem novel from a structuralistic approach, which tends to include a distinct format, whereby the protagonist, who is facing a significant crisis, manages to overcome at least some issues. While this genre is similar to the realistic problem novel for young adults that was popular in the 1980s, it is unique in its protagonist characteristics, who I refer to as "hybrid heroes." These heroes encompass traits of both classical heroes and anti-heroes, deal with crises throughout most of the plot, and are in constant survival mode. Moreover, illustrations replace regular monologues, striving to convey what is going on within the protagonist's consciousness, yet with an added layer of humor. To map this genre, in this paper I analyze three middle grade graphic problem novels: Just Jaime by Terri Libenson, Heartstopper by Alice Oseman, and Middle School by James Patterson and Chris Tebbetts. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Suleyman Demirel University Institute of Social Sciences is the property of Suleyman Demirel University, Institute of Social Sciences 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 figure of the traditional hero of old legends and epics has always fascinated writers and researchers, readers and viewers due to the connotations of grandeur, magnanimity and honour. Shifting tastes and realities have determined transformations regarding the features associated with heroes, or regarding perceptions of them and of the very set of values they embody, with the figure of the equally attractive anti-hero thus reflecting the mind-set and the spirit of the time engendering him/her. This paper explores the changes in the nature of and perceptions on the iconic figure of the hero, his trajectory to antiheroism and his metamorphosis into the new hero of the day in contemporary culture. After some preliminary remarks on heroes and heroism, the paper offers some chronological examples of anti-heroes in literature and culture and also discusses their features. The third section discusses the emergence of the new (anti)heroes of contemporary culture by stressing the historical and social context that led to this alteration. The last section brings to the forefront typologies of contemporary iconic (anti)heroes and discusses some examples of such 'new heroes' belonging to the royal circles, people in the world of arts and show business, politics and sports. [ABSTRACT FROM AUTHOR]

As the opposite of the traditional chief character of a novel, the anti-hero or the 'non-hero' does not commonly possess the positive features that are expected from a fictional protagonist. Unlike heroes, anti-heroes do not represent the epitome of a community's grand ideals, aspirations or goals, nor do their lives evoke strength, bravery, resourcefulness or nobility of mind and character. Caught in a net of flaws, weaknesses, fears, imperfect features (sometimes reaching caricatural tones), unlucky situations, personal delusions, impossible ideals, inadequacies, inferior features, unconventional acts, or downright failures, the anti-heroes discussed in this paper resonate with the ideology of the authors creating them and, to a certain extent, of the ages they pertained to. Ultimately, anti-heroes chronologically placed in distant poles of literary history, such as Henry Fielding's Tom Jones (1749), Laurence Sterne's Tristram Shandy (1760-7), or Kingsley Amis's Lucky Jim (1954) and John Osborne's Jimmy Porter (from Look Back in Anger, 1957) illustrate humanity's changing dreams and the changing nature of man's potency to fulfil ideals or, simply, the duality or imperfection of (non-idealized) human nature. The diachronic approach will illustrate a trajectory that places the characters (simultaneously or not) in various roles: the clown, the eccentric, the marginalized, the victim and many others that the paper will illustrate. [ABSTRACT FROM AUTHOR]

Sadallah Wannous (1941-1997), the leading Syrian dramatist, reflected in his plays the condition of the downtrodden fellow-countrymen. He captured the essence of the average Syrian citizen, not as an innately timid soul, but as one cowed by political and economic oppression. This paper provides a case study of two anti-heroes; Hanzala in Hazala's Journey from Unawareness to awakening (1978) and Farouk in A Day of Our Time (1993), who go on two journeys of discovery of the roots of their problems. The journeys in both cases lead to awakening and protest. This study attempts at analyzing the significance of the underdog figure in the light of dramatic and textual analysis and Wannous's own views communicated in his non dramatic writings and the interviews he gave in his lifetime. As a result, the author of this paper concludes that Wannous' anti-heroes delineate the collective psyche of the oppressed civilians. The awakening process delineated in the said plays is an attempt to raise political awareness in the masses of Wannous's audience. [ABSTRACT FROM AUTHOR]

Copyright of Sociološka Luča is the property of Socioloska Luca 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 Image & Narrative is the property of Image & Narrative 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 paper deals with the issue of Holocaust education. It presents the results of qualitative research taking place in parallel among students in the Czech Republic and Germany, following their ideas on how to teach about the Holocaust and World War II in general. [ABSTRACT FROM AUTHOR]

Copyright of Ibero-Amerikanisches Jahrbuch für Germanistik is the property of Weidler Buchverlag GbR 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 explores how the Homeric trope of the 'hero' appears in three films by the writer/directors Ethan and Joel Coen -The Hudsucker Proxy (1994),The Big Lebowski (1998) and No Country for Old Men (2007). It will identify the classical traits of hero and anti-hero, mapping them onto characters in these movies. The paper concludes by examining how the ways in which the Coen brothers' play with the notion of the 'hero' connects with recent thinking on culture and myth in the work of Graham Ward, William A. Dyrness and Robert N. Bellah. [ABSTRACT FROM AUTHOR]

The present paper starts from the premise that, in his poem, Byron deconstructs completely the fame of the ruthless seducer Don Juan. We attempt a text-based analysis of the evolution of Don Juan's character in Cantos 7, 8, 9 and 10 of the poem, highlighting the subtle aspects undermining the text. [ABSTRACT FROM AUTHOR]

Who a manager is, as a person of moral character, has been only of tangential interest in social science definitions of management, which have focused on functions, roles, behaviors, and environmental influences. But how do managers themselves speak of managerial excellence? This paper answers this for a particular corporation, based on a three-phased research process that deliberately imposes no descriptive or normative categories, but allows the answer to emerge, listening to what managers themselves say when discussing excellent managers and their behaviors. This approach finds that: (1) virtue ethics and virtue language is fluently used by practicing managers, (2) virtue language is important to understanding managerial excellence, and (3) whereas the set of virtues defining the excellent manager can be expected to be dependent on the societal, industry, and organizational context, such a set of manager virtues can be identified and prioritized within a particular organizational milieu. The implication is that, once an organization's management better understands the meaning of the excellent manager in terms of the virtue language already used by its own employees, it is better equipped to implement a practical ethic of virtues, one helpful toward recognizing and developing excellent managers. Ethics researchers are challenged to increase their understanding of extant virtue language as the basis for a renewed development of virtue ethics theory and applications. [ABSTRACT FROM AUTHOR]

This paper argues that the subspecialism of sociology of education has, for a century, been ambivalent about the 'hooligan'. It has both celebrated and excoriated the anti-school working-class boy. Similarly, the mainstream of sociology has been ambivalent about sociologists of education, both relying on them and ignoring them. Thirdly, the paper speculates on the position of hooligans in Britain in 2025 and the relationship between mainstream sociology and the sociology of education in that year. [ABSTRACT FROM AUTHOR]

The American hero made his literary debut as a rugged individual who exhibited courage, decency, common courtesy to others, but the antihero who lacked most basic values soon stole the stage. Although some consider Kahlil Gibran Hourani, the main character in Nobel's novel, an antihero, I argue that Kahlil, a Syrian American man who is abused by men who consider him a terrorist, suffers through the abuse perpetrated against him and emerges from his ordeal with his values intact. After escaping his captors, he embarks on a journey home to his wife, resigned to face her ire; however, during this journey, he finds the courage to stand up for the rights of others, as he does when he helps the illegal aliens being abused by their handler, and he is also still capable of treating other people with courtesy, as he does when he encounters the homeless woman in the Laundromat. Kahlil exhibits courage, empathy, simple human decency, the qualities that define a hero. He is the American hero, redeemed, no longer an antihero. [ABSTRACT FROM AUTHOR]

The paper deals with the issue of Holocaust education. It presents the results of qualitative research taking place in parallel among students in the Czech Republic and Germany, following their ideas on how to teach about the Holocaust and World War II in general.

World wars have left an indelible trace while they lasted as well as in times after them. In Czech culture and literature one of the common ways of adapting to political regime changes is using humour in literary works. The paper focuses on three novels by famous Czech novelists: The Good Soldier Švejk by Jaroslav Hašek, I Served the King of England by Bohumil Hrabal and The Joke by Milan Kundera. By using humour as dominant literary discourse, the authors created marginalised characters, (anti)heroes who, despite living at different times, disarm the war. Nuanced irony, black humour, sarcasm and grotesque reveal the true face of wars and restraints of (post)war ideologies – Austrian imperialism, Nazism and socialism by treating them as absurd. Timelessness of pacifism which these works promote makes these books appealing to readers even nowadays.

Copyright of Global Media Journal: Turkish Edition is the property of Global Media Journal, Turkish Edition 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 Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Caribbean era was historically marked by suffering: colonization, the attempt to eradicate autochthonous populations, the enslavement of Africans, followed by the importation of indentured workers from India an Asia, left indelible traces. They also gave way to cultural cross-breeding, perceptible in cooking, which is born in the fields, but mostly in the orchards and vegetable gardens, the means of survival of the family - the higglers selling their extra crops on markets. The mountainous landscape of Jamaica favoured maroon slaves, and resistance for the Tainos who were able to endure, where settlers thought they had decimated them. The economic exile toward the city severely struck the countryside, creating a double culture. However the link of food kept them attached to the mother-earth, cultivated the satisfaction of the senses, and the cohesion of the family, through generations. Lorna Goodison's work is saturated by the presence of food and its hedonist, sensuous reading can be done through: 1) a cultural way of cooking according to social class, opposing the subalterns to the gentrified class; the stingy, selfish cooks and those with a sense of solidarity; 2) a motherly way of cooking calling for childhood savours and underlining a gendered fracture 3) a ritual cooking for love, celebration and death, and eventually 4) an oral pleasure which identifies the fruit of innocence of the original garden to poetry, the supreme pleasure that can be transmitted by the nourishing mother. [ABSTRACT FROM AUTHOR]

This article explores the representations of white masculinities and the depiction of racism in anti-heroic narratives on the basic cable network FX in the United States. By juxtaposing the ambivalent racial sensibilities of a morally ambiguous white protagonist with the overt racism of stereotypical depictions of the white underclass, The Shield (2002-2008), Sons of Anarchy (2008-) and Justified (2010-) acknowledge the continuing existence of racial prejudice in American society while also supporting the dominant colour blind rhetoric that denies the continuing impact of structural racism. Although some scholars interpret the popularity of hyper-masculine anti-hero shows that speak to the notion of 'masculinity-in-crisis' as indicative of the declining benefits associated with white, male privilege, this analysis uses G. Harris' notion of 'postmasculinist television drama' to argue that the consistent deployment of white masculinities in these FX programmes reinforce the post-race ideology associated with hegemonic whiteness by 'othering' problematic racial attitudes yet still allow white audiences to take 'ironic' pleasure from expressions of overt racism. [ABSTRACT FROM AUTHOR]