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Jayanta Mahapatra's literary corpus is versatile and reflective to the windows of the world. His Door of Paper: Essays and Memoirs (2007) is the finest flowering ever written by an Indian English poet compared to the theory of poetry of Wordsworth, Shelley and T. S. Eliot. He is the only Indian English poet who wrote the issues related to poetry about how to write poetry, the freedom of poetry, the silence of poetry and the timeframe of poetry and the significance of poetry. His pioneering book Door of Paper: Essays and Memoirs (2007) encompasses his autobiographical strain as well his ideas of poetry as felt during his composition of poetry. What Wordsworth, Coleridge, Shelley, Arnold and T. S. Eliot highlighted in their theory of poetry is also reflected in his ideas of poetry. So, this article attempts to highlight how Mahapatra's book Door Of Paper signifies his ideas about the freedom of poetry, process of poetic composition, the silence of poetry, the timeframe of poetry and the significance of poetry as compared to Wordsworth, Coleridge, Shelley, Arnold and T. S. Eliot's theory of poetry and how his ideas reflects to his own poetry also. [ABSTRACT FROM AUTHOR]

This paper focuses on the life of Samra Zafar’s as portrayed in her memoir A Good Wife: Escaping the Life I Never Chose (2019). Though the society tries its best to confine Zafar’s life according to culturally prescribed boundaries, she breaks every convention, makes herself identifiable in everyone’s eyes and sticks to her own view-point. Initially she was, at some level, confused and didn’t know whether to fulfill her personal demands or cultural conventions, which were continuously forcing her to live according to them, but then, with the course of time, she realizes everything and subverts every norm which, for her, was unacceptable. Generally, this work, along with female’s right, also talks about intimate-partner abuse, but this paper discusses only those points where the protagonist becomes aware about her mistreatment and takes action. Betty Friedan’s The Feminine Mystique (1963) talks about females’ rights especially their involvement in outside affairs and is an important work in the history of feminist cause. Zafar’s memoir is analyzed through this lens. It is obvious that Friedan’s book elements are very similar with Zafar’s personal story; both of them discuss that how a woman can gain her autonomy and agency in a world where everyone is trying to put her back in the world of prison. Moreover, Zafar doesn’t gain an independent life for herself but also for others and becomes an inspiring soul, who tries her best to save others from the same situation. The outcomes, which are derived from this investigation, reveal the rebelliousness and enmity of protagonist towards society, where her education, employment and freedom of action or expression are of utmost significance for her, and she changes her fate with the aid of her intellective passions, especially education. [ABSTRACT FROM AUTHOR]

Political conflict has plagued Kashmir, a Muslim-majority region of Hindu-majority India, ever since the partition. The crisis worsened by the end of the 1980s and has continued to disrupt peace in the valley to date. The conflict arguably entered a new phase as the Hindu nationalist Bharatiya Janata Party (BJP) was elected to power in 2014, which also joined the ruling coalition of the Jammu and Kashmir state in 2015 for the first time. Over this period, Kashmir's resistance evolved into subtler forms, including cultural expressions like memoirs. Published in 2021, Farah Bashir's debut work, Rumours of Spring, is a deeply personal yet undeniably political exploration of the crisis in Kashmir from its aggravated phase in the beginning of the 1990s. This paper argues that the nuanced depiction of the crisis in the memoir demands an intersectional reading of the traumatising impact of militarisation and militarism on Kashmir's everyday life, especially given the subject position of the narrator as a Muslim woman. The works on militarisation by Jacklyn Cock, as employed by Samreen Mushtaq to analyse the situation in Kashmir, provide theoretical insights for this reading. Set in Kashmir's identitarian conflict, the Muslim identity is central to the narrative. We argue that in Bashir's memoir, religion finds a complex representation, with the Qur'an and Kashmiri folklore serving as respites in times of crisis, even as the fundamentalist factions contribute to their oppressive reality. Bashir's work openly engages with the experience of being a Muslim in Hindu India. The paper also attempts to place the work in a larger corpus of life-writing by women in conflict zones, comparing the work with Sharon and My Mother-in-Law: Ramallah Diaries (2003), a Palestinian memoir by Suad Amiry. [ABSTRACT FROM AUTHOR]

In this study, the author analyzes the content of two old constitutional reform drafts elaborated in the context of public debates on the topic of elaborating a new Basic Law after the completion of the state unity of the Romanian Kingdom. The first of the drafts was elaborated - as a theoretical work - in 1919 by professor Iuliu Pascu from the University of Cernăuți, and the second, by the politician Constantin Argetoianu. The first draft has remained practically unknown to the constitutional doctrine. The second one was written by its author in the form of a report and presented on 20 December 1922 during the People's Party congress, held in Sibiu between 20-21 December 1922. Subsequently, Constantin Argetoianu published it in a booklet in 1922, practically not included either in the memory of the specialized doctrine. The report presented by Constantin Argetoianu at the congress in Sibiu is, however, included in the memoirs of the venerable politician and can be consulted in his memoir paper published after 1990 in several editions. The two drafts are atypical, in the sense that they were not edited in an ordinary legislative form, but as doctrinal papers, in which the authors presented and supported with arguments their opinions regarding some principles and provisions of constitutional rank, which they considered at that time appropriate legislative solutions for a wide-spread constitutional reform of the Romanian State. [ABSTRACT FROM AUTHOR]

The paper deals with the sudden experience of an unfamiliar feeling due to the blurring of the boundaries between the private and the public space, resulting in what Bhabha calls 'unhomely.' It has been further argued that this sudden emergence of unfamiliar experiences acts as a traumatic event, represented through graphic narration in Malik Sajad's Munnu: A Boy from Kashmir. The sense of 'unhomeliness' caused due to various factors like constant surveillance is responsible for the traumatic feeling in Munnu. The paper also explores the idea of the panopticon, which engenders the blurring of the boundaries between the home and the world. The blurred boundaries make our private space strange and unfamiliar, which is supposed to be an intimate place without any invasion by the external world. Therefore, the present study explores the notion of 'unhomely' and the trauma caused by it, as represented in the graphic narration of the events through dreams and nightmares. [ABSTRACT FROM AUTHOR]

As embodied agents of interlocuters in communicative encounters, professional interpreters use the narrated 'I' to tell the stories of others, while the narrating 'I', that is the interpreter's personal self, is often kept invisible for the sake of performing the professional role. This paper focuses on three contemporary interpreters' memoirs that recount their life and work experiences in different locations and settings. The paper explores how interpreter-memoirists challenge the expectation for interpreter's non-affectivity by exercising their affective labour and adjusting their empathetic positioning in their work as interpreters. With a focus on empathy as affective labour, I investigate how these interpreter-memoirists perform their professional roles by handling emotionally charged scenarios in different ways. I argue that interpreters can function as agents of empathy who are capable of modulating speaker-intended emotions and coping with the impact of empathy as part of their felt and regulated emotions. The fact that the empathy is negotiated and mediated by interpreters challenges normative views on the interpreter's objectivity and neutrality. This study offers new possibilities for reinstating interpreters' agency in handling empathy and acknowledging the positive outcome of interpreters' affective work. [ABSTRACT FROM AUTHOR]

The focus of this paper is the mutual representation of the process of artistic writing in the memoirs of Bohumila Grögerová Můj labyrint [My Labyrinth] and in the novel Točité věty [Winding Sentences] by Daniela Hodrová, which came into existence concurrently with the two authors in close contact. Other pieces by these authors, though of different genres, may be read as an artistic dialogue as well: a dialogue with mythologies, historical figures and cultural traditions, the values and knowledge that these authors share and represent, sometimes in a similar way and sometimes in a different one, while employing narrative strategies typical both of modernist and postmodernist poetics, balancing between dream and reality, fictionality, fictionalization and authenticity. A selection of topics (language, speech, writing; individual and collective; textual subjects; myth and novel; memory and oblivion) are analyzed, and a comparison of modes of representation and their functions in the texts as related to the world of ideas of both authors is undertaken. [ABSTRACT FROM AUTHOR]

This article explores the playful and humorous side of Henry Morris, a renowned printer known for his Bird & Bull Press. While Morris was primarily focused on papermaking history, he also enjoyed incorporating whimsical pranks and jokes into his work. One of his main outlets for this was the creation of San Serriffean works, which began in 1937 and involved parodies and spoofs related to printing and numismatic culture. Morris published various books and ephemeral pieces under the pseudonym Dr. Bachaus, incorporating elements of San Serriffe into his work. These playful publications covered topics such as toilet paper, marbled papers, private presses, and even a fictional republic called San Serriffe. Morris's San Serriffean works were highly regarded for their creativity and humor, adding an element of amusement to his fine press printing. [Extracted from the article]

Henri Deslandres initiated imaging spectroscopy of the solar atmosphere in 1892 at Paris Observatory. He developed two kinds of spectrographs: the 'spectrohéliographe des formes', i.e. the monochromatic instrument to reveal chromospheric structures (such as filaments, prominences, plages and active regions); and the 'spectrohéliographe des vitesses', i.e. the spectroheliograph to record line profiles of cross-sections of the Sun, in order to measure the Doppler shifts of dynamic features. Deslandres moved to Meudon and hired Lucien d'Azambuja in 1899; together they built the large quadruple spectroheliograph. CaII K systematic observations of the full Sun started in 1908 and were followed in 1909 by Hα with two dedicated 3-metre spectroheliographs. Daily observations were organized by d'Azambuja who also intensively used the large 7-metre spectroheliograph for his research and thesis (1930). This paper summarizes fifty years of investigations by Mr and Mrs d'Azambuja, who explored various photospheric and chromospheric lines, obtaining special spectroheliograms with the high dispersion 7-metre instrument. They also intensively observed filaments and prominences, reported results in an extensive memoir (1948) and recorded rare solar activity events with the two 3-metre spectroheliographs, until their retirement in 1959. [ABSTRACT FROM AUTHOR]

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin 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 Quarterly of the History of Material Culture / Kwartalnik Historii Kultury Materialnej is the property of Instytut Archeologii i Etnologii Polskiej Akademii Nauk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In January 2020, Vanessa Springora published Consent, an unusual memoir that discloses the elaborated version of a personal story. Springora was 14 years old when she met the 50-year-old Gabriel Matzneff, a well-known French writer. Thirty years later, she decided to take back the agency that she claims was taken from her, with the artilleries of literature. While closely following Springora's narrative, the paper focuses on the emergence of a new "memoir genre", which besides presenting a platform for personal redemption, instigated an important shift within the French public opinion regarding the nature of consent, and ignited significant legal reform in this regard. As will be elaborated, Consent and other works in similar spirit appositely demonstrate the power of law to stimulate certain narrative patterns, and the power of stories to influence cultural atmosphere which leads to legal changes. [ABSTRACT FROM AUTHOR]

In this paper, I will draw on two twentieth-century French writers and extract from their works their ideas about memory and memoir writing. The first, the poet and philosopher Charles Péguy wrote a great deal about memory, bringing the philosophy of Henri Bergson into realms of daily life that the philosopher himself did not. Not all of Péguy's meditations on memory are related to memoir writings, and yet they provide a possible frame for anyone who would want to engage in such a task. I will focus on some of his points about time and aging, give some examples from his projected confessions, and relate them to the writing of memoirs as he saw it. The second author, Romain Gary was a prolific novelist, whose works were among the greatest best sellers in post-War France. I will focus on his literary memoir, Promise at Dawn. Gary does not write directly about memoir writing. His ideas on it are embedded in his autobiographical narration, however, and it is these ideas that I shall extract and illustrate. Much separates these two authors' views on memory and memoirs. Despite their differences, I would like to argue that both authors focus on the ethics of memory and memory writing. That ethics revolves not so much on telling the literal truth, the getting this or that detail correctly, but in capturing and conveying the commitments that have marked one's life, and capturing them in such a way that they do not coincide with the current pieties about the past. Memoir writing for both authors is a way of responding to the times, a kind of critique of contemporary society. [ABSTRACT FROM AUTHOR]

In this personal memoir of my lifelong collaborator and friend, Herb Gintis, I reflect on his "A Radical Analysis of Welfare Economics and Individual Development." Published in the Quarterly Journal of Economics in 1972, the article advances a novel Marx-inspired interpretation of the societal origins of preferences, one that profoundly influenced the ideas of a group of like-minded young economists at Harvard at the time, economics more broadly, and Herb and my subsequent joint work. JEL Classification: B14, B21, D01 [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo 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 Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne 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 examines a fascinating similarity among three memoirs from different periods of the Yishuv - Zionism before the establishment of the State of Israel. The three memoirs are those of Sara Malkin of the second Aliya, who was recognized as a leading woman pioneer; of Henya Peckleman of the third Aliya, who lived with her mother in conditions of economic hardship and became one of Israel/Palestine's first female construction workers, though she never gained honour or social status, and committed suicide at 35; and the memoirs of Netiva Ben-Yahuda, one of the first female fighters in the Palmach. In these three different life stories, the author identifies a similar social pattern: all three women were excluded from the centers of Zionist activity in which they were involved; in periods marked by life-threatening dangers (such as a war or plague), these women, who transgressed gender boundaries, were all falsely accused of causing death; and this accusation was in turn used as a pretext to remove them from the group and restore gender-order. The article suggests that contradictory definitions of femininity characterize Zionist ideology and practice. This inner contradiction is manifested in the gaps between ideology and practice during the second and third Aliyas, as well as in the status and roles of women in the Palmach. This paper points out and analyzes the intriguing connections between literary devices and social-gendered conditions [ABSTRACT FROM AUTHOR]

Copyright of Futuro del Pasado: Revista Electrónica de Historia is the property of Futuro del Pasado: Revista Electronica de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the present paper, Murad's memoir, The Last Girl, is scrutinized through the lens of Resistance Literature theories. First introduced by Kanafani (1966) and adapted by scholars such as Harlow (1987) and Sangari (1389 [2010 A. D.]), Resistance Literature has come to constitute pieces of writing that are written during or after a conflict by people experiencing life under the oppressive power. For Harlow and Sangari, what is of utmost importance is the accounts of war experience pictured by civilians from all walks of life. With the Syrian war with the ISIS escalating in 2011 and its consequent overflow into Iraq, the extremist terrorists brought the war to the doorsteps of ordinary people, massacring men and leaving women to deal with the aftermath. The Last Girl is Nadia Murad's retelling of life under the ISIS as a Yazidi-Iraqi woman. At first glance, Murad pictures a sad, yet vivid image of the Yazidi genocide by the ISIS. However, in a deeper analysis of the text, one finds how being ripped apart from family, utterly displaced, terrorized and raped can also shape a rather stronger, resistant person. By applying Harlow and Sangari's theories of Resistance to Murad's memoir, what is manifested is the way in which being appointed to various kinds of terror in war-time can create a more resistant self in someone. [ABSTRACT FROM AUTHOR]

This article centers on the life of the late Ottoman and early Turkish Republican bureaucrat Mustafa Reşat to investigate how he turned into a genocide technocrat. It examines his career and decisions at critical junctions and depicts him as an outstanding representative of a category of perpetrators who prepare the propitious infrastructure, ground, and climate for such large-scale violence as the Armenian Genocide. By shifting the perspective to the type, scale, and level of perpetrating violence, this paper sheds light on how Mustafa Reşat used his administrative and political knowledge and experience to serve Talat Pasha, who was already organizing the deportation and extermination of Armenians. Drawing upon hitherto unmined sources such as his memoirs, it demonstrates how an ultranationalist and dedicated Ottoman bureaucrat played a pivotal role in determining the main contours of the Turkish state’s mindset on the “Armenian and Kurdish Questions”. [ABSTRACT FROM AUTHOR]

The article examines the reflection of contemporary artist Muhanned Cader about Sri Lanka. Topics mentioned include a description of Cader's exhibition depicting colonial myths and modes of visuality relating to biology, meteorology, photography and cartography, the history of Ceylon, and a brief highlights of Cader's educational and career background.

The revisiting of the 1971 paper, 'The Australian East-West Radio Relay System', in this issue of the Journal has stimulated this author to recall several of the design challenges encountered with the project in the early 1970s, and the engineering solutions achieved. [ABSTRACT FROM AUTHOR]

Early Soviet society featured clear nutrition guidelines and a robust plan for streamlined logistics in food processing, distribution, and consumption, all of which was aimed at building a stronger state through a virtuous transformation of calories into labor power. Such rhetoric appeared even in children's illustrated books, such as Vladimir Maiakovskii and Nikolai Kupreianov's Story of Petia, Fat Boy, and of Sima, Who is Skinny (1926). This paper shows how in the 1920s authors such as Viktor Shklovskii and Iurii Olesha turned that rhetoric on its head and pushed back against the early Soviet obsession with planning and mastering nature and the human body by employing metaphors of food, digestion, and agriculture. In Shklovskii's memoirs A Sentimental Journey (1923) and Knight's Move (1923) and Olesha's novel Envy (1927), the October Revolution itself emerges as a metabolic process on a vast scale: prerevolutionary aesthetic threads, motifs, and concepts are broken down and processed, reassembled, and repurposed into a seemingly new society and worldview, in which the individual original components are still recognizable. [ABSTRACT FROM AUTHOR]

This article argues that contemporary tales of trauma and healing, such as Hanya Yanagihara's novel A Little Life (2015) or Helen Macdonald's memoir H Is for Hawk (2014), model aesthetic structures akin to narrative therapy approaches used in patients with posttraumatic stress disorder symptoms. Their readers are asked to imaginatively partake in and to distance themselves from these narratives at the same time. This complex reading process parallels elements of a therapeutic conversation. Interpreting the aforementioned texts is certainly not identical with trauma therapy as such, but there are relevant points of encounter. The aim of this paper is to retrace the intersections between exemplary narrative texts and central premises of trauma therapy by looking at structural similarities. [ABSTRACT FROM AUTHOR]

Copyright of Maetagused is the property of Estonian Literary Museum, Department of Folkloristics 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 provides concrete suggestions for teaching two Holocaust testimonies, Irene Hauser's diary and Ruth Klüger's memoir Still Alive. Hauser's and Klüger's texts effectively illustrate the differences between diaries and memoirs while recounting similar experiences. Such a comparative analysis, I argue, achieves two goals: First, by comparing two different types of autobiographical texts, students gain a deeper understanding and appreciation of the complexities, contradictions, and tensions inherent in autobiographical writing, ultimately encouraging students to become more accepting of ambiguity in their learning. Second, by focusing on Holocaust testimonies, students learn about persecution, injustice, and oppression, increasing their awareness of global issues, interculturalism, and social justice. The pedagogical approach and teaching suggestions outlined here are easily adaptable and can be applied to the teaching of autobiographical writing in other thematic contexts. [ABSTRACT FROM AUTHOR]

This article delves into the abundant war memoir literature originating from the countries of former Yugoslavia, which has been driven by various wars and the inclination of soldiers, officers, and generals to extol their wartime accomplishments. The prevalence of this literature is especially noteworthy in Bosnia and Herzegovina, with the most represented memoirs hailing from World War II, followed closely by those concerning the Yugoslav Wars. These memoirs offer diverse perspectives, reflecting the authors’ personal experiences and thoughts during war. While these memoirs do provide rich insights, a critical approach is essential given the inherently political nature of these works. As a valuable source for understanding military history, memoirs play a crucial role in shaping the comprehension of the past. The article underscores that, despite potential biases, the memoir literature presents opportunities for further research and for expanding knowledge about the war in Sarajevo, particularly when complemented by other military sources and archives. [ABSTRACT FROM AUTHOR]

The editorial flourishing of graphic narratives in Spain provided memoirs and fictionalisations of the civil war and the dictatorship at the core of the phenomenon. I analyse the transmission of paternal memories in the works of Miguel Ángel Gallardo and Francisco Gallardo (Un largo silencio, 1997) and Antonio Altarriba and Kim (El arte de volar, 2009). While both Gallardo and Altarriba collect and (re)produce their father's memories, I point out their distinct approaches that echo two different zeitgeists of representation. The spirit of the Spanish transition – the so-called 'Pact of Silence' – that prevails in Gallardo's patrilineal account, was revisited throughout a sort of Lacanian père-version in Altarriba's narrative. The latter perverts, in form and substance, the Transition as a patrilineal norm, constituting a transgression from the symbolic status quo, from the silence that actually prevails in both Gallardo's story and the transition itself, although without abandoning the patriarchal lineage and scope. I argue that while that patrilineal account is symbolic, celebratory and literal in Un largo silencio, such patrilineality unfolds as imaginary, inquisitive and literary in Altarriba's narrative. [ABSTRACT FROM AUTHOR]

This article challenges the consensus that silences about mental disorders are there to be broken. While silence in mental disorders can be painful, even deadly, the consensus rests on an oversimplified understanding of silence. Drawing upon accounts from depression and bipolar memoirs, this article names and analyses some salient experiences of silence in mood disorders. It does so with two goals in mind. The first is to show that mood disorders may involve several different kinds of lived experiences of silence. This is important because even though silence is considered a promising objective symptom of depression, little has been written about lived experiences of silence in disorders that involve depression. The second is to argue against the fetishisation of breaking silence and the concomitant understandings of silence as an externally imposed and inherently negative phenomenon. This is important because some silences are not experienced as external and are even felt to be valuable, meaning that efforts to break them may be counterproductive. [ABSTRACT FROM AUTHOR]

Life-writing by punks has grown at a remarkable rate and constitutes a significant new addition to the canon of punk cultural production that deserves an equal place alongside music, fashion, and zines. Punk has always sought to document itself in the form of recordings, film, photography, fanzines, and video. It is time to add memoirs to these archival impulses and examine how punk culture is now mediated and sustained by autobiography. Whereas punk life writing might be dismissed as so many nostalgic trips down memory lane, this article begins from the premise that writing about a life involves more than nostalgia. Considering punk memoirs as works that offer new ways of thinking about a life attached to punk, this article surveys a broad range of punk memoirs and asks questions that reframe some punk scholarship by emphasizing how individuals live within and outside of punk simultaneously. What are some of the dominant features of punk memoirs? What kinds of interventions do they make? How do they introduce and develop particular ways of documenting and thinking about punk culture and its legacies? How does life writing about the past transform punk in the present? What ways of thinking, lines of inquiry, understanding, and feelings do memoirs establish and examine as central to the thought of punk, in particular, and the study of culture more broadly? The article seeks to demonstrate how these trajectories might shift and renovate work undertaken by scholars of punk. [ABSTRACT FROM AUTHOR]

This article attempts to understand the content and aesthetic of the graphic novel Bhimayana: Experiences of Untouchability, in determining if its nature could be understood as a work of the avant-garde. In order to do so, the article will closely examine the aesthetic style employed by the author, the essence of the story, the content and the nature of its publication. These aspects will then be linked to the various understandings of the avant-garde to find out whether the graphic novel resonates with the principles of questioning ideas, methodologies and power structures. [ABSTRACT FROM AUTHOR]

The article examines how sensory experiences or affects intersect with the everyday in Sarah Joseph's memoir, "Aaru Nee." Cited are how the connections between Joseph and her social relations animate her everyday life, the space-time of the memoir that can be seen as contesting the devaluation of everyday life, and critical engagements wherein the examination of ordinary affects in the memoir were built.

Oil evokes a range of emotions, from the promise of prosperity to the reality of environmental degradation and corporate greed. A growing number of graphic narratives (such as Gasoline Dreams) are exploring the 'cruel optimism,' to use Lauren Berlant's term, of oil. Crude: A Memoir is one such graphic narrative that through the memories of Pablo Fajardo exposes the intricate networks of extraction, the paraphernalia of the corporation-state nexus, and the contradictions of petromodernity through the use of visual storytelling techniques such as point of view, focalisation, and colour palette. This graphic narrative solicits an empathetic response from its readers by revealing the ethical and affective aspects of this environmental disaster. Drawing insights from energy humanities and comics studies, this article, through the close reading of Crude: A Memoir, investigates the toxicities of oil-modernity, the role of state infrastructure, and the global matrixes of power. Put together, Crude performs a kind of grassroot justice in that the memoir names the abusers who seem to be immune to justice, shows the plight of the Indigenous 'collateral damage' and the environmental degradation that result when legal protections are not afforded to those most vulnerable (including human, plant, animal, water, and mineral entities). [ABSTRACT FROM AUTHOR]

This article examines the concept of queer bibliography and its relationship to other critical bibliographical traditions. It emphasizes the significance of an intersectional approach to queer bibliography, taking into account factors such as race, class, dis/ability, and gender in addition to non-normative sexualities. The article explores the connection between queer and Black bibliography, highlighting the importance of recognizing marginalized voices and the transmission of marginalized texts. It also discusses the work of Ann Allen Shockley, a Black lesbian writer and librarian, as an example of how Black bibliography can embody queerness. The authors argue that a new form of bibliographical studies is emerging that challenges exclusionary practices and embraces liberatory futures. The text also delves into the intersection of queer bibliography and feminist theory, emphasizing the need to incorporate lived experiences and embodiment in bibliographic work. It discusses the efforts of lesbian activists in the late twentieth century United States who created bibliographies of lesbian media. The text also stresses the importance of intersectional bibliography that challenges traditional hierarchies and amplifies marginalized voices. The author reflects on the role of biobibliography in preserving queer history in Latin America and shares their personal collection of books on queer personal writings. [Extracted from the article]

In the late 1980s and 1990s, a stream of Cultural Revolution memoirs written by Chinese dissident writers became bestsellers in the U.S., the U.K., and other countries in the Anglosphere. Travelling through transnational circuits of exchange made possible by a multinational publishing industry, Cultural Revolution memoirs were promoted as authentic cultural productions that documented the hardships of life under Communism. This article situates the Anglophone Cultural Revolution memoir in a global Cold War framework. Drawing on theories of Occidentalism, I discuss how English language acquisition is invoked in Anglophone Cultural Revolution memoirs as a pathway towards achieving individual freedom. Through formalist readings, I demonstrate how two emblematic Cultural Revolution memoirs - Da Chen's Colors of the Mountain and Jung Chang's Wild Swans - establish their narrators as liberal subjects through the process of learning English, thereby elevating the central figure of the dissident who crosses the Bamboo Curtain and seeks a new life in the West. [ABSTRACT FROM AUTHOR]