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Since the arrival of Christian missionaries in China through maritime trade networks, missionary activities have been changing from the 16th century to the 18th century. Christian missionaries faced numerous challenges stemming from cultural context and religious policies in China. Throughout history, various religious strategies have been employed to address these challenges. The use of Chinese porcelain to depict Christian imagery holds significant importance. The present study is focused on four representative Chinese porcelains dating from the Ming to Qing dynasties, each associated with specific phases of Christianity in China. Examining the connections between the Christian mission in China and Christian iconography on Chinese porcelain leads to the conclusion that the visual culture associated with the Christian mission in China is influenced by and reflects intercultural or interreligious dialogue with mutual understanding. In the meantime, it signifies an intricate process of interaction, appropriation, hybridization, and adaptation, through which Christian iconography gained new significance on Chinese porcelain. [ABSTRACT FROM AUTHOR]

"Visionen neuer Wissenschaft: Zur Dialogischen Dichtung von Dante Alighieri und Johannes Kepler" by Laetitia Rimpau is a book that explores the similarities in poetry and cosmology between Dante Alighieri and Johannes Kepler. It delves into the literary tradition of Platonic world models and the astronomical aspects of Dante's Convivio, as well as Kepler's poetry and the frontispiece to the Rudolphine Tables. Both Dante and Kepler were critical of the church's monopoly on learning and worked in the pagan tradition of cosmology. The book also examines the relationship between poetry and astronomy throughout history, focusing on the representation of constellations in ancient Greek poetry and the connections between Dante's cosmology and astronomy, as well as Kepler's scientific poetry. Overall, it provides a comprehensive exploration of the intersection between poetry and astronomy from antiquity to the Romantic period. [Extracted from the article]

This article examines the relationship between landscape and writing in the novel Los llanos by Federico Falco, and reflects on the use of the landscape in the Rio de la Plata context and in the Argentine literary tradition. Following the arguments of Graciela Speranza, Jens Andermann, Graciela Silvestri, Fernando Aliata and Horacio González, it poses questions such as: How does this novel stage the story of the pampa as landscape? In what ways does it develop the idea of the pampa as a remain? Where does Los llanos's difficult work in trying to describe the plain lead us? [ABSTRACT FROM AUTHOR]

Dayna Patterson's collection of poems, "O Lady, Speak Again," explores the themes of Shakespeare's female characters, the author's personal experiences with an absent mother and her Mormon heritage, and the struggle against patriarchal language. Patterson rewrites Shakespeare's stories to challenge the male-dominated literary tradition and patriarchy itself. The collection also carries significance for LDS readers, as it juxtaposes Shakespeare with LDS institutional statements and quotes from the author's polygamous ancestors, indicating a desire to rewrite religious history. The poems are a delight to read, with well-crafted language and vivid imagery. Overall, Patterson pays homage to Shakespeare's work while pushing back against patriarchal messaging. [Extracted from the article]

This paper locates Cormac McCarthy as a modern representative of a particular wing of American literary tradition and discusses the parallels between The Road and some important works of this tradition. Long before the transcendentalist views of nature as a sacred place, the first European immigrants to America described wild nature as an unfriendly domain where human beings are both punished for their sins and tested by the Supreme Being. Their perspective fits the descriptions of unfriendly nature in The Road. Besides, while the perception of nature in American culture is influenced by this wilderness concept that needs to be tamed and that needs to be civilized with human intervention, it has also been influenced by the romantic definition of nature seen after the onset of industrialism in Europe and America. The Road contains traces of both perspectives and moves them one step forward with its response to the modern environmental crisis. In this context, depending on the representations of nature and environment in the entirely devastated setting of the novel, McCarthy appears as the representative of a world where self-sustaining green nature no longer exists, and the environment covered with concrete forests. [ABSTRACT FROM AUTHOR]

This paper analyzes the cases wherein a previously unknown and unique mythological character (with his/her specific behavior, "personal" traits, appearance, origin, etc.) is generated by a cultural linguistic sign or a fragment of text. This research is based on the Russian cultural and linguistic tradition, mainly in its dialectal version (the language of Russian peasants). Its sources include data published in the late 19th–early 21st century in dictionaries of Russian dialects and, primarily, the unpublished field materials of the Ural Federal University Toponymic Expedition, covering data from the Russian North, the Urals, and the Volga region. According to their nature or origin, the names of characters studied in this paper derive from two types of linguistic signs: (1) Names based on usual forms of standard vocabulary that can be both proper and common nouns; the former may refer to various categories, such as toponyms (names of geographical objects), chrononyms (names of calendar dates), hagionyms (names of saints), names of icons, etc. (2) Names originating from a text, usually folkloric; these are word combinations or phrases that only act as a single unit within their "parent" text. Sometimes, but less often, these consist of one word that is of key importance in the source text. Such a phrase or word can migrate outside the "parent" text or genre, expanding their lexical combinability and changing their syntactic regime to become a name of a mythological character. It takes two sources of motivation for a new character to emerge—a linguistic (a word that seeks a new context) and a cultural one (a semiotically intense context, such as a situation associated with danger, prohibition, omens, aggression, or magical practices). The combination of these incentives is not uncommon, so the stock of mythology used for names is being constantly renewed. [ABSTRACT FROM AUTHOR]

The integration of media discourse in contemporary French literature is a significant phenomenon that demands further understanding. As the media plays a crucial role in shaping public opinion and the cultural landscape, it is important to investigate how this influence is reflected in literary works. This research aims to explore the extent to which contemporary French literature incorporates media discourse and its impact on the literary discourse. The case study will mainly focus on Grégoire Bouiller’s novel Le Coeur ne cède pas (2022). After a short presentation of the novel and its main axes and themes, we will identify and assess the different intermedia elements (artistic, media), to then mention their modes of presence and insertion in the literary text. The last part will be devoted to the study of their functions at the level of the literary text (aesthetic, semantic, ideological, social, or civic). [ABSTRACT FROM AUTHOR]

The article takes a look at the forms and functions of Romanian memoir writing in the 19th century, endeavoring to demonstrate that the literary quality is only one of the many criteria which determine its canonical status, others being its political and social value or its contribution to the coherent narration of the national culture. In order to better evaluate this hypothesis, I then propose the particular case study of Zamfir C. Arbore (1848-1933) and his memoirs as an early Narodnicist, Anarchist and political prisoner in the Russia empire, and afterwards as an exile to Switzerland, close associate to some of the great left-wing thinkers of his time and producer of clandestine literature. After going through the substance and technique of his memoir-writing, I come to the conclusion that such works, which the canon of literary tradition often avoids, are an integral part of the social memory which memoirs are a witness to. [ABSTRACT FROM AUTHOR]

The manuscript informally known as "Título del barrio de Santa Ana" was created in 1565 in San Cristóbal Verapaz, Guatemala. It is written in the Poqomchi' language (Mayan family, K'iche'ano subgroup) and relates some events during the first decades after the Dominican missionaries arrived. It is a title of ownership, a specific genre of indigenous documents that was elaborated in Mesoamerica with the purpose to obtain a tool to defend the historical rights over certain territories. This paper presents the main characteristics of the "Título del barrio de Santa Ana" and highlights its importance for historical and linguistic studies. Based on a comparative analysis with other indigenous documents written in the Highlands of Guatemala during the colonial period, it is argued that the "Título del barrio de Santa Ana" initiated the Maya-Poqomchi' literary tradition. [ABSTRACT FROM AUTHOR]

In view of his work and the elements present in his writings, Naïm Kattan can easily be described as a man of duality. Duality in textuality, but also in terms of literary influence. The child of Baghdad has made French literature his own, and has undeniably integrated it into his universe. However, this integration was not synonymous with rejecting or forgetting his original literary world. On the contrary, despite an essentially Western/Canadian literary universe, Kattan's writings are clearly influenced by Eastern influences, particularly Mahfouzian. The textual and non-textual similarities between the two authors are such as to confirm this oriental influence, which complements the French influence and confirms the author's attraction to duality. [ABSTRACT FROM AUTHOR]

Aim. The paper is focused on the area of philosophical literary stories included in the educational programme Philosophy for Children. The paper aims to identify, reflect and analyse the categories of creative thinking in such stories. Methods. The main method through which we deal with categories of creative thinking is represented by the interpretation of the literary text in several philosophical stories. An additional method is the analysis of documents - individual books containing philosophical literary stories. Results. The analysis of several stories shows that creative thinking in philosophical literary stories is identified in the categories of imagination, applicability, originality, surprise, experimentation, encouragement of the creativity of others and imaginativeness. The major characters are using original solutions to problems, they are able to apply the solved problem to a new situation, ask questions and their thought processes are often surprising. Problematic to determine is the category of imagination, with which the character can think about a possible world or problem solving. Conclusion. In contrast to the classical aesthetic literary text, this specific type of text brings the reader model solutions to many problems of everyday life. The focus of the Philosophy for Children can also aim at ecological and environmental issues and individual participants in the community of inquiry are thus encouraged to stimulate their creativity in the field of nature protection and sustainable development from an early age. [ABSTRACT FROM AUTHOR]

The present article delivers a short insight into the social roots of Scandinavian literature; the contribution discusses the intersections of literary production and political action in the Scandinavian peninsula, taking into account Swedish exceptionalism and the role of Sweden as importer of European culture and as flagbearer of political progressiveness, as well as the different reverberations of the pan-Nordic “Modern Breakthrough” in its preoccupation with “putting things up for debate.” The rich tradition of proletarian literature in Sweden, doubled by the openly Marxist positions of many canonical Scandinavian authors, create the prerequisites for a literary production whose most recent export, the crime fiction genre most commonly known as Scandinavian Noir, is one of the most political contemporary literary phenomena to have gained international renown. [ABSTRACT FROM AUTHOR]

In this paper, focusing on three Croatian Glagolitic editions printed in Senj as examples, the authors attempt to form a clearer linguistic picture of the non-liturgical works printed at Senj's Glagolitic printing press, particularly in light of previously established conceptions of the 16th century Croatian literary language. Combining the vowel and consonant features of the Senj editions Korizmenjak, Mirakuli, and Naručnik, an effort was made to describe in detail the linguistic characteristics of the given level of description. At the same time, special attention was given to both Church Slavonic and vernacular (Čakavian) features. The analysis confirms that many of the described features are characteristic not only of the Čakavian of that time, but also of Croatian Church Slavonic. This indicates, on one hand, a tendency to preserve the literary tradition of the printed word, but on the other hand, also a confirmation of Čakavian phonological features. [ABSTRACT FROM AUTHOR]

The historical information about the biography of Kaygusuz Abdal; is inversely proportional to his recognition in the tradition and history of literature. As much as Kaygusuz's poetry and ideas are concerned, precise information about his biography is less explored. Although Kaygusuz is the most frequently cited name in almost every Bektashi poetry collection, and all recent histories of Turkish literature mention him as an important person in the literary history of the Turks however the biographical information that should be available about him is insufficient. There is almost a consensus that he lived in the second half of the 14th century and the first half of the 15th century. There is no consensus on where and when he died and where he was buried. The issue that Kaygusuz is the founder of Alawi and Bektashi literature is also discussed in two stages, historically and literary. Some state that Kaygusuz's founding feature carries both a literary and a historical notion, as his views are based on the interpretation of many issues in Bektashism. Here, Kaygusuz Abdal's life is discussed as a part of constituent phenomena. The one who gave birth to the reality of Kaygusuz spread it and kept it alive; the connection of the entourage, purpose, and essence has been construed. In most of the traces of Turkish literature and as a part of Turkish historiography, Kaygusuz has been referred to as the founder of Alawi and Bektashi literature. He is especially mentioned as the founder of Bektashism in Egypt. How it is mentioned is also important. There will be a discussion on the tension line here. An approach has been developed on Kaygusuz's history and his entourage, as well as the part of his legendary life that is thought to belong to him. To define a personality like Kaygusuz, to reveal the phenomenon of Kaygusuz, it is essential to turn to the common perception and to focus on the issues that make up the common way of understanding a historical and legendary poet, Sufi. Then Kaygusuz's intention; as a notion that grounds or defines intentions, the place of travel in the history of culture will be tried to be understood through the position of Egypt in the Turkic World and the Islamic world. In the last part, Kaygusuz's personality and qualities that determine his place in Alawi and Bektashi literature and the history of Turkish literature, in general, will be defined through the Mediterranean, the beginnings problem, and the paradigms of founding. [ABSTRACT FROM AUTHOR]

This paper analyzes the short story "2035", by Veronica Stigger, focusing in its construction over a boundary zone between the history of the Ragamuffin War and the constructed imaginary about this conflict inside South Brazil literary system. At first, studies of how the Ragamuffin War was represented in the history of literature are reviewed. Then, some pieces of news are analyzed for the purpose of understanding how the literary imaginary impacts contemporary thought in crystallizing a Ragamuffin War's romantic interpretation. Finally, "2035" is explored specifically in how this story dialogues with the history of South Brazil literature and with the contemporary popular discursiveness, rearranging the Ragamuffin War's romantic symbolism to express another side of the same myth. The results show how Stigger creates a "reverse imaginary" to Ragamuffin War, through a dystopian filter directed to what would be its bicentenary; the traditional ode to the Ragamuffin War's alleged republican values of liberty and equality is subverted in a representation of the elitist interests of those who idealized this revolution, of the not so triumphant side of this combat, of all the blood shed during this period and of the mysticism that involves the evoking of the Ragamuffin's past. [ABSTRACT FROM AUTHOR]

The paper proposes an analysis of literature’s role in the current Romanian cinematographic context, starting from two case studies: After the Hills (2012) by Cristian Mungiu, based on the novel Spovedanie la Tanacu by Tatiana Niculescu Bran and Moromeții 2 (2018) by Stere Gulea, based on the novels Moromeții vol. II and Viața ca o pradă... by Marin Preda. The approach aims to carry out a comparative analysis regarding both the role played by the literary work in the cinematographic production as well as the valorization of the literary work through the film. In the current socio-cultural context, the artistic impact of a film creates the cultural premises for the propagation of a literary work to several types of audiences. Artistic products derived from literary works develop a series of issues regarding adaptation methods, aesthetic interpretation, and even artistic interference regarding the assimilation of a literary piece in relation to the cinematographic production. The paper presents two case studies to analyze how the literary work appears either as an adjunct to the cinematographic production or as a central element of the filmographic artistic exposition. These case studies are used to determine the role that the film industry has in the processes of internationalization, propagation, and even popularization of a literary work in a Romanian consumer society, which is dangerously far removed from the book industry. Thus, the scientific approach proposes an exploration of literary valorization through cinematographic artistic products in order to popularize and mediate literature in today's society. [ABSTRACT FROM AUTHOR]

In at least two aspects, Buddhist Avadāna literature shares a strong affinity with Chinese literature. One type of stories can be seen as parallel tales that bear striking resemblances to Chinese tales, while the other type has been assimilated by Chinese writers and transformed into Chinese tales. Regarding the first kind, there are many parallels between Buddhist and Chinese stories throughout the Six Dynasties (222–589), and it was only later that these stories were somehow compiled into collections that brought these parallels to light. As an example of the second type, in linggui zhi 靈鬼志 (The Record of Magical Ghosts) of the Jin Dynasty (265–402), the story of waiguo daoren 外國道人 ("the Foreign Master") adapts the magical plot in which a man throws up a jug from the story of fanzhi tuhu 梵志吐壺 ("a Brahmin Spits a jug") in the Buddhist text, yet it changes certain objects of the story to items with Chinese characteristics and develops new meaning. In Xu qixiezhi 續齊諧志 (Further Records of Qixie [Supernatural tales]), the famous e'long shusheng 鵝籠書生 ("the Goose Cage Scholar", also known as the yangxian shusheng 陽羨書生" (the Scholar from Yangxian)"), takes the same story to another level. The structure of the story is changed, and a number of literati aesthetic interests are added, improving the literary color, smoothing down the language, and making substitutions in the text's specifics, thus, bolstering the sense of realism and history. Meanwhile, in Liu Yiqing's 劉義慶 (403–444) Xuanyan ji 宣驗記 (Records Manifest Records of Manifest Miracles), the Avadāna tale yingwu jiuhuo 鸚鵡救火 ("the Parrot Putting Out the Fire") that he collected is not only associated with Buddhism but can also be seen as a commentary on the turbulent times and a hint of literati optimism if we view it in the context of Liu Yiqing's Youminglu 幽明錄 (Record of the Hidden and Visible Worlds). The literary elites of the Six Dynasties drew inspiration from Buddhist Avadāna sources and imaginatively mixed them with historical circumstances to create Chinese fiction with new intentions. The rich resources of Avadāna literature from India and the fable tradition in Chinese literature create cultural conditions for these two sources to combine and mutually develop, forming a world of literature with colorful and meaningful stories. [ABSTRACT FROM AUTHOR]

The book of Chronicles is a well-known example of how theological developments in Judah during the Persian and Hellenistic periods played a role in reshaping the received literary traditions of the Hebrew Bible. This study focuses specifically on Chronicles' narratives of violent conflicts between Israel/Judah and the Philistines and Arameans and their relationship to the portrayal of the Philistines and Arameans in Samuel–Kings. It discusses five case studies pertaining to violent encounters between Israelite/Judahite kings and the Philistines (Saul in 1 Chr 10; Jehoshaphat in 2 Chr 17; Jehoram in 2 Chr 21; Uzziah in 2 Chr 26; Ahaz in 2 Chr 28) and five pertaining to the Arameans (Asa in 2 Chr 16; Jehoshaphat in 2 Chr 18–19; Ahaziah in 2 Chr 22; Joash in 2 Chr 24; Ahaz in 2 Chr 28). Among other new findings, the study highlights how Chronicles repeatedly depicts the Philistine threat in tandem with conflicts with the Edomites (a phenomenon not found in Samuel–Kings) and, furthermore, casts the Arameans as an instrument of divine punishment not only against northern Israelite kings but also against Judahite kings. [ABSTRACT FROM AUTHOR]

The paper presents the first Polish translation of a mini-series of six short poems about Hyella by Andrea Navagero (1483-1529). The selected works are part of Navagero's famous Latin poetry collection entitled Lusus. The translation is supplemented by an introduction and commentary notes. The Latin text reproduced in the paper is based on the edition of Lusus by Claudio Griggio (2001). The introduction presents the author's biography and includes a brief description of the whole collection. Navagero was a diplomat, a poet and the official historian of the Republic of Venice. Collected by friends in Orationes duae, carminaque nonnulla, his poems were edited posthumously in Venice in 1530. The most important part of Lusus are bucolic epigrams, a new form of Neo-Latin pastoral developed by Navagero. This minor lyric form called "pastoral play" (lusus pastoralis) gained recognition quickly and was widely imitated in 16th century. The collection also includes other literary genres - bucolic poems, elegies, and erotic poems. However, the most famous is the series of epigrams whose heroine or addressee is Hyella, a girl impossible to identify. The introduction presents a discussion about the sources and the interpretation of the love poems about Hyella (poems 21, 22, 28, 31, 32 and 37). The most important literary tradition from which Navagero draws inspiration is the Greek and Latin ancient epigram. For poem 21, the source is the Anacreontea 19, while poem 22 uses the motifs of the lamp and the night as the guardians of lovers, both popular in The Greek Anthology. For two other pieces, the direct source is the poetry of Catullus: poem 31 uses Catullus's carmen 5, while poem 32 combines motifs from Catullus's carmina 82, 92 and 109. In addition, in poem 28 we find similarities with Ausonius's epigram 9. Other important sources for Navagero were the poetry of Petrarch and the neo-Catullan poets, mostly Giovanni Pontano, Michele Marullo, and Cristoforo Landino. [ABSTRACT FROM AUTHOR]

This article explains how the technical and artistic means used in the production of air combat cinema have a direct impact on the historical rigor of these films. Through the analysis of 180 productions of this subgenre, a study has been made of these techniques and their evolution over time, as well as the impact they have had on the historical rigor of the films in which they have been used. Obtaining, as a result, a global vision of the suitability of the technical and artistic solutions that this type of cinema has used to represent History in audiovisual format. [ABSTRACT FROM AUTHOR]

Instead of arguing whether or not Sayyid ʿAlī Muḥammad Shīrāzī (the Bāb, 1819–1850) and his writings are Islamic, this paper suggests that they are simultaneously Islamic and post-Islamic. The Bāb's Qayyūm al-asmāʾ, written at the outset of the Bābī movement in 1844, can be understood as a commentary on the Quran, the original Quran, and divine revelation. Although the Bāb gradually disclosed his identity to the public, his status (associated with the Imām, Muḥammad, and a manifestation of God) is present in the Qayyūm al-asmāʾ, in which he refers to himself as the Gate (Bāb), Remembrance (Dhikr), Point (Nuqṭah), ʿAlī, and Muḥammad. The Bāb participates in the long tradition of Islamic literary culture by creating meaning through metaphorical, symbolic, and paradoxical language, which for the Bāb ultimately point to post-Islamic revelation. The simultaneous absence and presence of Islam in the Bāb's writings created a real-world division between the Bāb's followers and his critics, many of whom were Muslim scholars. By focusing on multiple meanings in the Bāb's texts, this paper analyzes the interplay between the Bāb's identity and his writings as they relate to Islam. [ABSTRACT FROM AUTHOR]

The brilliant effect of the Buddha not only strengthens Buddhist believers' psychological effects of worship, consecration, and showing off of merits, but also becomes an important dissemination method to attract the public to join in. Starting from the golden skin of ancient Buddha statues, this paper analyzes the relevant historical documents and unearthed objects of gilded Buddha statues in ancient India, Afghanistan, Pakistan, and China and pays attention to the body decoration and technology dissemination as well as the process and influence of Chinese localization. In traditional Buddhist culture, gold technology and its application have an important impact on artistic expression, appearance protection, and the psychology of Buddhist statues. In the Late Tang Dynasty, the government and Buddhism suffered conflicts between supply and demand due to gold resources. The forced stripping of gilded Buddha statues became a historical epitome reflecting the deep social and economic problems. [ABSTRACT FROM AUTHOR]

Among the various analytical paths related to the work of Machado de Assis, one that seems to draw the most attention is the one that seeks approximations between literary and religious discourses (Cantarela, 2015; Alves; Oliveira; Ivan, 2014; Maia, 2015; Silva, 2016; Proença, 2010; Nova, 1992; Schmidt; Silva, 1978; Brum, 2009). In this sense, for Cantarela (2015), there are at least three models of reading the dialogue between religion and literature, namely: (a) the dialogic model of comparative literature (characterized by the search for traces of intertextuality between the Bible and other canonized works by religious traditions with literature); (b) the theorized dialogic model (characterized by the search for theoretical justifications for the dialogue between religion and literature); and, finally, the (c) thematic dialogic model (understands that the interlocution between the theological and literary discourse can be constructed from elements of the lived world and focusing on various themes). For the specific purposes of this article, we opted for an analytical model that includes both the comparative literature dialogic and the thematic dialogic. We followed this path since our objective consists, fundamentally, in analyzing, in Machado's short stories A Igreja do Diabo and Sermão do Diabo, the way in which the author makes an ironic social critique of Brazilian capitalism at the end of the nineteenth and early twentieth centuries. It is important to highlight that, although some works have the theme of social criticism as a central element (Couto, 2016; Bosi, 2004), none are based on the allegory of the devil. [ABSTRACT FROM AUTHOR]

This article reflects on literary musical tradition verified in German Brazilian communities' history, in light of a spontaneous "performance" from a community member when asked to sing a song during an interview. The present work analyses documents such as sacred hymnals, as well as secular song books and other publications regarding religion, music and literacy, the three central pillars of a publishing project conceived for the German-speaking immigrant community in Brazil by Reverend Dr. Wilhelm Rotermund, and his pioneering publishing house. As a result it appears that such a tripod is not only a theoretical conceptual production, but above everything, the (re) elaboration of senses of identity and social belonging, encompassing representations, imaginaries and symbols that organize multiple facets of life within this immigrant community in its past and contemporaneity. [ABSTRACT FROM AUTHOR]

In the past, many institutions of electroacoustic music positioned electroacoustic music as being the ‘music of the future’; in the first two decades of the 21st century, however, a focus on electroacoustic music’s past has grown, in particular with the aim to preserve this past. If pastness could once make electroacoustic music obsolete, it can now be valuable for electroacoustic music. Therefore, this article investigates how the view of electroacoustic music as music heritage has influenced the present understanding of this kind of music at Elektronmusikstudion (EMS) in Stockholm, Sweden. By analyzing the stages through which electroacoustic music at EMS has become heritage and by conducting and analysing qualitative interviews with composers/sound artists working at EMS, this article explores electroacoustic music as heritage. Furthermore, it investigates the possible effects this understanding of electroacoustic music has on artists’ practices and reflections. The main conclusion is that the institutional history of electroacoustic music influences how it is regarded as music heritage. Furthermore, understanding electroacoustic music as heritage allows various people involved at EMS to reflect on its past, and it becomes clear that this past can influence artistic choices. At the same time, these reflections contribute to creating a many-faceted history of electronic music rather than maintaining a history with a single grand narrative. [ABSTRACT FROM AUTHOR]

The Pandects, an anthology of passages from the Holy Scripture and the writings of the Church Fathers, was compiled in Medieval Greek in around 620 by Antiochus, a monk of the Laura of Mar Saba, at the request of hegumen Eustachius of the Monastery of Atalina. In the 10th century, this collection was translated into the Church Slavonic language in Bulgaria and soon became known in Kyivan Rus'. No later than in the 1160s, fragments of the Pandects were included in the Synaxarion or the Prologue, a calendar collection of the lives of saints and sermons. The didactic part of the Expanded edition of the Prologue was supplemented for the first half of the year with 21 carefully edited passages from the Pandects. During the 14th-17th centuries, scribes revised the translation of the Pandects again. The subject of this study is the new versions of the Pandects of Antiochus in comparison with the traditional synaxarian sermons from this source. When examining about 100 copies of the Prologue from the autumn-winter half of the church year, dating back to the 14th-17th centuries, 6 such articles were found. In the Moscow and Kirill-Belozersky editions of the Prologue, which belong to the Moscow literary tradition, I found two new versions (A Sermon on Fasting and on Prayer, A Sermon on if one Loves the World). The fragments of the Pandects were copied from the source in their entirety, without introducing significant changes. In the manuscript tradition of the Grand Duchy of Lithuania (GDL), and later also of the Polish-Lithuanian Commonwealth (PLC), more new variants of the sermons appeared. In the Navahrudak edition, in the two varieties of the Expanded edition and in the Museum edition, four traditional Prologue articles were edited (A Sermon on Eloquence, A Sermon on Dreams, A Sermon on Fasting and on Prayer, A Sermon on if one Loves the World). The writers used a special technique of segmenting the sermons and amending their style. It is possible to conclude that the 10th century translation of the work of monk Antiochus underwent a greater transformation in the literary tradition of the GDL than in the Grand Duchy of Moscow. Ukrainian scribes played a special role in the reception of the Pandects of Antiochus in the lands of the GDL and later in the PLC. [ABSTRACT FROM AUTHOR]

The term laus terrae (praise of the land) refers to a very positive description of the homeland which appears frequently at the beginning of medieval historiographic works. The paper analyzes the composition of such texts in the oldest known extensive Polish, Czech, and Hungarian chronicles. The three works in question give very similar descriptions of the homeland, which is presented as a wealthy land abounding in various natural resources, whose qualities are also underlined in a similar manner. The existence of those analogies is not surprising as the authors of those works were clearly influenced by the same literary motifs. Their choice to present the homeland as a locus amoenus (pleasant place) was of course related to their intention to emphasize the position of the country whose past they related as well as the power of the current and previous rulers of this territory. [ABSTRACT FROM AUTHOR]

This article explores the influence of platformization on literary publishing, focusing on the impact of audiobooks and streaming services on editorial processes and business objectives. Increased importance of some genres, sliding concepts of quality, increasing dependency on social media, diminishing economic margins, and stricter editorial decisions are transitioning traits highlighted in this study on Norwegian trade publishers. Further, the analysis brings forward three central challenges to today's publishers: dependence on digital platforms to obtain readership, favoring simple narrative structures countering broader catalogues, and increased press on prioritizing in a market characterized by customization. [ABSTRACT FROM AUTHOR]

There are all kinds of subjects in the works of classical Turkish literature tradition. However, among these genres, there are many religious works. In these works, there are answers to the questions of how people will apply the doctrines, obligations, and beliefs of the religion they accept. The lives, lifestyles, and reactions of people who previously lived and stood out in this religion have become a subject of curiosity. Since people find answers to these questions in these works, they have always aroused more interest. In addition to moral doctrines and advice, it is not very common to write these works starting from the existence of human beings. Ibn Hayr, who has not been studied previously, is an artist who created his works in this direction. There are five masnavis, all of which belong to Ibn Hayr, in a manuscript with the quality of a journal. No study has been conducted on this writing to date, and there is no information about the poet's life in the sources. These five masnavis can be considered independent masnavis in terms of their titles and subjects. The last masnavi among these five masnavis was recorded without a title. The author of the work used İbn Hayr as a pseudonym in his fifth work. It is observed that the author used pseudonyms such as Hayroğlu, Hayrun oğlu (the son of Hayrun), and Ibn Hayr in his other masnavis. It is seen that the masnavi has the characteristics of old Anatolian Turkish due to the language features used. Subjects such as the introduction of masnavi, language and expression features, copy features, number of couplets, and the content will be discussed in this study. The subject of the fifth masnavi in the last part of the writing is about the purpose of the creation of human beings, their duties in the world, and the preparations they should make for their eternal life. This study aimed to introduce the fifth masnavi, which consists of a total of 2074 couplets and has not been studied to date. An analysis was made based on the author's views and thoughts on human creation in the masnavi. In this sense, the introduction of the current masnavi and the examination of a masnavi from it will contribute to the literature in terms of both examining the subject and introducing the masnavi. In his work written with aruz prosody, the author explained the things that people should do for the religion of Islam as well as moral doctrines. The author focused on the rewards people will receive when these things are done or the punishments they will face when they do not do such things. He explained the duties of a Muslim. The author especially wrote about salah (prayer) in detail. They are studies aiming to increase Islamic belief in society. Using the verses and hadiths in his work, the poet made the subject he wanted to explain more concrete and ensured that it gained quality. Concerning the subject that he wanted to exemplify, the author gave examples from the lives of Islamic elders and told parables. He wrote throughout the work that the main purpose of human beings and the purpose of coming into the world is to know and serve Allah. The poet instilled the awareness that people living for this purpose are true servants. It is also known that a person living with this consciousness will have the attribute of being the highest of created beings. It is the feature that distinguishes humans from other created beings. The fact that a person knows this responsibility and is aware of every moment will have positive effects on his life and will lead the society he lives into peace. Thus, people will have a life in which they will live happily in both worlds. [ABSTRACT FROM AUTHOR]

In the history of Chinese Bible translation, the Psalms have been a privileged site for the encounter between biblical thinking, poetics, and Chinese classical literature. This encounter was initiated by the translators of the Delegates' Version, followed by John Chalmers, and outstandingly represented in particular by John C. H. Wu吳經熊. In his version of the Psalms, underpinned by his cultural stance of "beyond East and West", Wu borrows numerous Chinese idioms and popular verses and transposes Chinese traditions from Confucianism, Buddhism, and Daoism. Specifically, Wu's rendition inaugurates an intertextual dialogue between the Psalms and Shijing, involving the disciplines of both comparative literature and comparative scripture at the same time. By adapting various Chinese classical poetry styles for his version of the Psalms, Wu transforms their spiritual traditions and broadens their representation spaces by injecting a Judeo-Christian spirit. Relocating the biblical texts among multifarious Chinese literary traditions, Wu's translation of the Psalms achieves a deep interaction between the Bible and Chinese culture, provokes questions, and provides insights regarding the relation between biblical theology and intercultural poetics. [ABSTRACT FROM AUTHOR]

The Shenxian daohua ju of the Yuan dynasty closely relates to Daoism. However, the essence and boundary of these two concepts have not been clearly defined and delineated in the existing research, which leads to confusion in analyzing their relationship. This article provides methodologies for defining Shenxian daohua ju and Daoism. Based on the extant Yuan zaju texts and confined to the themes of seclusion, deliverance, and ascending to immortality, we enumerate the particular dramatic texts of Shenxian daohua ju. Then, we limit the objects of the concept of Daoism to specific Daoist sects in history and highlight that the criteria for determining whether a Shenxian Dao (Celestial Being Sect) belongs to Daoism are provided by the officially recognized Daozang (Daoist canon). According to the above understanding of these two concepts, we explore their relationship from the following perspectives. First, in terms of composition subjects, these include the frustrated Confucian literati, the vassal Kings, and the imperial literati; the Shenxian daohua ju written by frustrated literati in the Yuan dynasty is not the embodiment of Daoist doctrines as some of the researchers conclude. Second, in light of the "aesthetic distinction", we can also take Shenxian daohua ju as pure literary works and interpret these dramas from their literary structures and rhythmical forms. Third, from the perspective of the literary tradition, although with the adoption of Daoist themes, the Shenxian daohua ju of the Yuan dynasty still belongs to the Confucian poetic tradition. Its negation of secular life and advocacy of the ideal world follow the Confucian poetic teachings of "criticizing those above". Objectively speaking, due to the influence of Daoism, the Shenxian daohua ju with the Daoist themes breaks through the taboo topics prescribed in Confucian literary principles to a certain extent and enriches Chinese literature. [ABSTRACT FROM AUTHOR]

In this essay I show that the picture of universal extinction in the poem Satire I of the Romantic poet Mihai Eminescu (1850-1889) is deeply and rigorously inspired by a theory of thermodynamics from the 1870s, more precisely by the theory of universal “death” launched in the second part of 19th century by physicists William Thomson and Rudolf Clausius. My interpretation addresses competing interpretations, from literary-centric scenarios claiming that Eminescu’s representation of the extinction is inspired by or approaches models of the mythological-Christian tradition or universal literature, to scenarios that also launch hypotheses in the field of science, but other than thermodynamics. I am also interested in producing here, in the alternative, a critique of the thesis – widespread not only in popular culture but also in the most serious academic circles – according to which many of the discoveries of modern and even contemporary science would have been “announced,” “contained,” or “coded” in literary fiction, mythology, religious narratives etc., from ancient times (Indian, Judeo-Christian mythology etc.) to modern authors. [ABSTRACT FROM AUTHOR]

In this essay I show that the picture of universal extinction in the poem Satire I of the Romantic poet Mihai Eminescu (1850-1889) is deeply and rigorously inspired by a theory of thermodynamics of the 1870s, more precisely by the theory of universal “death” launched in the second part of 19th century by physicists William Thomson and Rudolf Clausius. My interpretation addresses competing interpretations, from literary-centric scenarios claiming that Eminescu’s representation of the extinction is inspired by or approaches models of the mythological-Christian tradition or universal literature, to scenarios that also launch hypotheses in the field of science, but other than thermodynamics. I am also interested in producing here, in the alternative, a critique of the thesis – widespread not only in popular culture but also in the most serious academic circles – according to which many of the discoveries of modern and even contemporary science would have been “announced,” “contained,” or “coded” in literary fiction, mythology, religious narratives etc., from ancient times (Indian, Judeo-Christian mythology etc.) to modern authors. [ABSTRACT FROM AUTHOR]

This text aims at showing the song Revelations by the British heavy metal band Iron Maiden, which is part of the Piece of Mind album and presents a great and diverse thematic, emphasizing historical events, war and the predominance of religious and mystical narratives. The song Revelations is written in layers that combine Christian traditions, the esotericism and mystique of Aleister Crowley and elements of Egyptian and Hindu traditions. The core of the analysis considers the song a composition of dystopian predominance, similar with apocalyptic literature, also known as dystopia, one of the categories of analysis of the referred song. Thus, what is revealed in the song is a critique and denunciation of oppression and violence when hegemonic systems of power instrumentalize religion for the purposes of domination. In order to develop these ideas, the article is structured in three sections: the first tries to show the still scarce presence of the relationship between heavy metal and religion in academic productions in the area of Religious Sciences; in the second, the main layers of literary and religious influences in the composition of the song are presented; finally, in the last section, there is the analytical development of facing, by hypothesis, the problem of the song being received by the category of dystopian analysis. It is hoped that the text will contribute so that the area of Religious Sciences, in its transdisciplinarity, can dialogue more widely with musical artistic forms, in particular with the rock/heavy metal genre, in its representative strength of problematizing reality. [ABSTRACT FROM AUTHOR]

The present paper advances a new understanding of Fyodor Dostoevsky's first novel, Poor Folk (1846), - as a parody of literary patterns promoted by Natural School's ideology. Dostoevsky builds his text on an underlying network of literary conventions, artistic devices, and intertextual references, used in a parodic manner. In addition, the novel makes use of a complex narratological strategy, in which the two characters play several roles simultaneously. All this turns the text into a literary experiment, intended by the young Dostoevsky to define his original contribution to the Russian literary tradition, in an overt dialogue with Aleksandr Pushkin and Nikolay Gogol. More specifically, it is the revival of the epistolary genre that allows Dostoevsky to engage in a dialog with his two predecessors. Therefore, Dostoevsky's debut novel should not be seen as a simple literary exercise, but, rather, as the assertion of its author's artistic individuality in the context of the literary tradition. [ABSTRACT FROM AUTHOR]

In the last decades a concern with waste has started to "surface" not just in the economic and social sciences, but also in the humanities, where it has lately clustered around Waste Studies and Waste Theory. This critical approach allows us to grapple with the consequences of our globalized economy of waste for both the planet and human beings. Although Waste Theory can be applied to virtually any literary tradition, I would argue that Asian American literature, which has been read along the lines of the waste/no-waste dialectics since Sau-ling Wong developed her Necessity/Extravagance thesis in 1993, proves particularly amenable to this methodology. In order to illustrate the multiple ways in which Waste Theory can productively interbreed with Wong's dichotomy, I will explore the dynamics of hoarding and waste in Andrew Lam's Perfume Dreams and Karen Tei Yamashita's Sansei and Sensibility. [ABSTRACT FROM AUTHOR]

In the present study, we tried to deal with the controversial concept of Alevism. Over the years, it has drawn our attention that controversial concepts have increased remarkably in various articles and studies. Especially heterodoxy, orthodoxy, syncretism, etc. It has been seen that the main concepts come to the fore as the main discussion axis in Alevism studies. However, without knowing what these concepts are, Alevism is being dragged into completely different channels with the tendency of slogans such as "Alevism is heterodoxy, Alawism is syncretism". From this point of view, the need to deal with controversial concepts that create the hidden agenda has emerged. From this point of view, we tried to deal with the main platform concepts and discussions encountered in Alevism studies. In particular, we tried to deal with the controversial concepts formed around the speculations produced by the West and that create the hidden agenda. The Ottoman Safavid rivalry attracted the attention of Europe which sought to expand its research and experience in the field. To date, incomparable literature has been produced in this field. Over time, this literature has become a reference source for modern Alevism studies. Although these studies are partially objective, the ambassadors, clerics, travelers, and researchers who wrote them could not escape the influence of the educational, cultural, and religious political perspective from which they came. This accumulation, which was transferred to the present over time, was transmitted to other generations and formed a tradition of perception. Alevism, which was condemned to vicious circles such as sectarianism, left-wing radicalism, etc., was included in the script of studies that aimed at politicization, marginalization, and conceptual distortions by separating it from the religion of Islam. But at the same time, the changes in knowledge and methods produced by each period were reflected in this literature. In this context, the research products on Alevism have formed the information infrastructure in politicization and orientation activities. This long-standing interest of the Europeans eventually allowed the emergence of new concepts and some evaluations from their own perspectives. Due to the lack of systematic theology of Alevism and its structure as a mythological theological understanding based on oral literature and traditions, no consensus could be reached on the definition. As a natural result of this, Alevism operates with the belief that it is in a race to be defined by different people and groups, and each one of them is the right one. Thus, Alevism is an emotional state where everyone can speak and even feel themselves in absolute truth. As a method, we tried to examine the leading controversial concepts with their current counterparts in a concrete way, so that they can find concrete answers in the minds of researchers. In addition, we have tried to deal with the works that set the agenda in the past and today. Thus, it will reflect the general view of the controversial concepts of Alevism. This situation of Alevism has attracted the attention of orientalist researchers (George White, Irène Mélikoff, Marcus Dressler, Hans Lucas Kieser) in the historical process, and they have shown interest in this field with political, ideological, religious, and other motives. While doing this, they preferred to use the concepts found in the history of Christianity and Judaism in the field of Alevism. These researchers have used the historical understanding and patterns of their cultures, such as Christianity and Judaism, to which they originally belonged, in interpreting Alevism. All these approaches prevent the correct perception of Alevism and lead to an environment of mental confusion and chaos. It has caused Alevism to move away from the scientific understanding it deserves. [ABSTRACT FROM AUTHOR]

The historical value of the oral tradition permeates literature as represented in multiple disciplines, including theology. An aspect of this tradition has proven viable in spiritual conversations with older adults. This paper will discuss the oral tradition's medium of storytelling and listening to demonstrate its relevance in therapeutic conversations with older adults. Therapeutic storytelling is a distinct intervention prevalent in the African oral tradition This approach is also gaining attention in the contemporary context, blending seamlessly within the narrative approach. Using the quantitative research method of ethnography and autoethnography, I analyze specific therapeutic encounters that employ a storytelling/listening approach in spiritual conversations. The analysis reveals the relevance of storytelling in specific therapeutic encounters. Storytelling is gaining interest and reclaiming space in therapeutic settings with diverse populations, but mostly with older adults. The study also highlights the apparent similarities between the traditional approach to storytelling and the narrative approach in the contemporary therapeutic milieu. [ABSTRACT FROM AUTHOR]

The social and cultural changes brought about by industrialization and the Industrial Revolution highlighted the value of printmaking as a new means of expression in artistic presentation. The innovative mechanical production methods influenced their artistic production through the interest and experimentation of many artists, whose numbers should not be underestimated. On the other hand, the transfer of examples of traditional Japanese printmaking (Ukiyo-e) to Europe in 1700-1900 caused profound effects on Western art, beginning with Impressionism, one of the modern art movements. Especially in the last two decades, rapidly digitalizing technology has also provided radical changes in many social-cultural and economic fields. As a reflection of this, it has caused a change in the presentation of contemporary art and caused the formation of an innovative attitude that transforms-triggers the perception of the audience. Two effective factors are emphasized in the context of the effect of fine art print works on the phenomenon of art. One is the artist of the time, who uses all the media tools of his time with pure intuition to transform his artistic expression, his dreams into reality, and another is the audience of the artwork, who accepts only a part of his artistic presentation, which is helped by all technological tools, by discussing, and few of which will be praised by future generations. In this context, digital technology promises a free space to thousands of artists who produce screen presentations or artistic prints on many different media, enabling us to see them everywhere. It has indisputable that digital technologies are a new tool with a different line for artists, apart from the usual art presentation of contemporary art, which is in different quests with an innovative attitude in every period. From this point of view, in addition to the dynamic visual presentations in different places and platforms where the art audience can be involved and integrated into the contemporary art environment, the innovative attitude that fine art print artworks brings to the effect and behavior of the audience should also be considered. The purpose of this paper is to investigate how digital print technology and print works influence audience perception. The survey data analysis is interpreted in this article through excerpts from the dissertation titled "Effects of fine art printmaking on phenomenon of the art" which is still in progress. [ABSTRACT FROM AUTHOR]

This study traces changes in 19th-century Czech retellings of Robinson Crusoe, from the Czech translations of German adaptations by Joachim Heinrich Campe, Gustav Adolf Gräbner, and Karl Rudolf Oskar Höcker, to the original Czech retellings by Pavel Josef Šulc, František Doucha, Jan V. Novák, Antonín Mojžíš, and others. This tradition is analysed in connection to changes in contemporary travel literature, with special attention to certain mutual coincidences: for example, the fact that travel literature, from early on, was influenced by such literary topoi as the shipwreck, life on a deserted island, encounter with the other, duels with pirates, etc. These topoi provided the frameworks and methods for writing travel literature; conversely, the stories of real journeys influenced the writing of novels. This mutual coincidence is not unique to Czech literary culture, as the author illustrates through the example of 18th-century adaptations of Robinson Crusoe in the British context. Specific to the 19th-century Czech tradition is a tendency to present the story as a ‘scientific type’ of travelogue, where the narrator serves as a kind of note-taking apparatus, providing expert explanatory notes, and in which the fictional story is set in a specific context (geographical, historical, cultural, or botanical-zoological) in its contemporary world. [ABSTRACT FROM AUTHOR]

Resistance can take many forms. In Palestine, to exist is to resist. For the last fifty-four years Palestinians have found many inventive and innovative ways to resist the Israeli occupation, and one of those ways, but certainly not the only, is art. Palestinian art and the Israeli occupation walk hand in hand insomuch that and the historical and political encounters of the conflict have influenced the Palestinian cultural scene and vice versa. This article aims to explore how art, in its various forms, is part of the arsenal of everyday resistance techniques employed by the Palestinian. It addresses not only how art has challenged the outcomes of the conflict, but also how the conflict has impacted the Palestinian artistic scene. To this end, it explores the case of contemporary Palestinian graffiti as a relevant tool of resistance that provides an insight into the nature of Palestinian resistance but also into the evolution of the conflict itself. [ABSTRACT FROM AUTHOR]

The Christian desert tradition is undeniably male-centred. How the absent feminine paradoxically "appears" in stories and sayings of the tradition can, however, provide an antidote to the otherwise male-centred character of this literature. This article explores how the author, a female researcher of this tradition, has grappled with the tradition's male-centred character. It demonstrates a hermeneutic of charity requiring creativity to retrieve value from the literature associated with this tradition. It also acknowledges an inspirational encounter with Carmelite spirituality scholar Kees Waaijman that initiated a deepening of the researcher's commitments to work that matters personally and to others. This article further shows that reading the literature of the Christian desert tradition, alongside contemporary naturalists, reveals ways in which the desert and women's lives, in particular, have been used, then and now, to reflect on experiences of vulnerability, loss, and discernment of vocation. [ABSTRACT FROM AUTHOR]

The article examines the novel A Rainha do Ignoto (1899), by Emília Freitas, demonstrating the formal innovations of the text, built on the basis of fantastic and Gothic literature. We seek to understand how these literary traditions helped to build a plot that critically contrasts two planes, one real and one utopian, which establish a subversive reference to the turbulent Brazilian political environment of the time. Furthermore, the gender constructions of the main characters of the novel are discussed, bearing in mind the particular appropriation that Freitas makes of the Gothic form to narrate the relationship between fear and sexual gender. [ABSTRACT FROM AUTHOR]

This article analyzes how the regionalist literary tradition is present in the novel Outros cantos (2016), by Maria Valéria Rezende, based on the representation of the space and the identity. It also investigates how literary criticism has discussed the presence of regionalism in contemporaneity and how such discussion reflects on the author's adherence or refusal to being associated to regionalism. The article concludes that there are resonances of the regionalist tradition in Rezende's work, although the author rejects the qualification of regionalist and any relation between her work and this literary strand. [ABSTRACT FROM AUTHOR]

The purpose of this article is to compare two fundamental collections of poems of the Peruvian literary tradition: The song of the figures by José María Eguren and Los heraldos negros by César Vallejo. The author uses a comparative perspective and highlights two essential aspects of contemporary poetics: the writing of suicide and the specialization of the modern poet. To fulfill this objective, the author is based on the ideas of Roland Barthes, Octavio Paz and Jacques Rancière. [ABSTRACT FROM AUTHOR]

Monsha’at of khaghani is a glorious example of the qualities of Persian prose that, despite its great importance, has received little attention from scholars. On the other hand, the prose lyric literature has been neglected in comparison with its poetic type, and some have not considered this type of language to be effective for lyric literature. This research intends to study both cases by relying on the content analysis method and examining the lyrical aspects of Monsha’at text. With this aim, first, according to the known types of lyrical literature such as autobiography, praise, epigram, complaint, etc. the book was studied carefully and parts containing lyrical content were extracted and then introduced based on frequency. According to the results of the study, as prose is closer to the nature of language, Monsha’at more clearly reflects Khaghani's emotional images, autobiography, loneliness and bewilderment, praises, his high character, epigrams, incompatibility with his surroundings, and his delicate and quick-witted grievances. The obtained samples indicate that, contrary to the popular belief, Persian prose has no shortcomings in the expression of lyrical content, and in some cases, due to the author's lack of adherence to the poetry meter limit, lyrical prose has more literary impact and prominence. [ABSTRACT FROM AUTHOR]

This work proposes a study of the way in which the writer Luiz Ruffato – in They were many horses –challenges and reinvents various poetics of the western literary tradition. It analyzes, in particular, the aesthetic affinities of this book with the proposals of the Italian futurist vanguard. For that, we used the theoretical support of authors such as Gilberto Mendonça Teles, Maria Adélia Menegazzo, José Mendes Ferreira and Augusto de Campos. Presenting itself as a literature constructed under a fragmented, rapid, imagistic and multifaceted poetics, They were many horses proposes many reflections on the urban and contemporary Brazilian society. Through collages and short narratives that represent several stories of a chaotic metropolis, Ruffato configures an unbalanced and dirty mosaic, composed of crimes, family breakdown, disease, consumerism, underemployment, addictions and other ills that permeate this modern society. Making use of a language close to futuristic poetics, composed of words in freedom in relation to the syntactic order and the formal use of punctuation; as well as the use of typographic and onomatopoeic resources; Ruffato proposes a spatiotemporal relationship that seeks to provoke in the reader a feeling of dynamism typical of the modern city. Given this complex literary materiality, this work proposes an analysis of the social reflections and aesthetic innovations proposed in They were many horses. [ABSTRACT FROM AUTHOR]