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Sharon Dodua Otoo has called the artistic production of Black and of Colour writers in contemporary Germany 'eine Praxis des Widerstands'. Here I read her Bachmann‐prizewinning story Herr Gröttrup setzt sich hin through the lens of Jamika Ajalon's conception of a fugitive archetype of resistance, which is, I argue, simultaneously a working definition of a literary work of art. I also read the story as a literary investigation of the phenomenon Miranda Fricker has called epistemic injustice ('a wrong done to someone specifically in their capacity as a knower'). Fricker's articulation of epistemic injustice has helped spark an 'epistemic turn' across disciplines. I refer particularly to José Medina's development of her work in his Epistemology of Resistance (2013). Subaltern subjects, argues Medina, can gain an epistemic advantage because they have to work harder cognitively, maintaining 'two cognitive perspectives simultaneously'. Theorists of epistemic injustice strikingly often rely for their arguments on literary fiction, which has long been alerting its readers to epistemic injustice and its painful or lethal consequences. Otoo, I argue, uses storytelling and humour to offer both the epistemically privileged Gröttrups and her epistemically privileged readers opportunities to understand and transcend their cognitive limitations. [ABSTRACT FROM AUTHOR]

The present work seeks to reflect, from the perspective of interartistic studies, on the narrative practice of Adolfo Couve, Chilean writer and painter who thematizes the plastic world in all his narrative production. Starting from an unprejudiced conception regarding the marginal, the ugliness and the misery, our author displays an alternate look on the edge spaces in search of the vindication of the misery, at the same time that relativizes the aesthetic canon that prestige subjects and reasons far from the reference field of those who inhabit the edge. The exhibition of those spaces, the characters and the minority landscapes, their plastic and narrative composition, nevertheless, permanently dialogue with the pictorial tradition of elite. [ABSTRACT FROM AUTHOR]

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This article explores a trend in contemporary Cuban art that takes the book as its subject and object. It attributes the renewed interest to factors ranging from a changing textual environment in public spaces to the rise of digital content to newly re-discovered traditions from historic and neo-avant-gardes, among others. It first maps out a number of new artworks about books, then turns in the second half to focus on two book-based art projects of particular note: La Maleza, an editorial project by Lester Álvarez, and a series of 2015 interventions into Havana's Fayad Jamís bookstore organized by Yornel Martínez, whose own artworks are also analyzed. [ABSTRACT FROM AUTHOR]

Richard Birkett finds a subversive literary methodology in R.H. Quaytman's ordering of paintings into chapters, and the production of related paratexts and publications. [ABSTRACT FROM AUTHOR]

The article features illustrator Roger Mello and the development of his artistic expression. Topics discussed include Mello's interest in narrative manifested in fields such as drama, literature and illustration, his artistic spirit as seen in his experimentation on every project and his books such as "Maria Teresa" about a boat's passage through the Sao Francisco River in Brazil, "Cavalry Charge in Pirenópolis inspired by the celebration of the Feast Day of the Divine Holy Spirit.

In a reading of James Thomson's "The Seasons" that largely draws on the history of the book and the fields of print culture and illustration studies, I offer a narrative of the changing interpretation of the poem between 1730 and 1797. Not only did readers, in response to changes in zeitgeist, alter their consumption and reading practices of the text, but they also interpreted the poem by translating it into a range of different media such as furniture prints, porcelain designs, sculpture, and book illustrations. I shall examine different responses to Thomson's poem by discussing a number of illustrations that were printed in editions, published both in London and the newly emerging regional publishing centers but disseminated across Britain. Apart from documenting the representational shift from depicting the poem as theodicy to reading it as a narrative of nature and domesticity, I shall relate my discussion of the illustrations to changes in technology, the reading revolution, and the skillful marketing strategies of both cheaply produced and luxurious editions of "The Seasons" in the late eighteenth century. By contextualizing the production within a new midcentury book trade that catered to different classes of readers, the essay makes a contribution to understanding Thomson's text as a cultural classic of iconic significance that was being reinvented (in ever new media and interpretations) throughout the second half of the eighteenth and the first half of the nineteenth centuries. [ABSTRACT FROM AUTHOR]

The article focuses on the photographs titled "Hall of Thirty-Three Bays," by Japanese photographer Hiroshi Sugimoto. The author examines the images in the context of traditional concepts related to this Japanese type of art. The photographs directly reference an essential as well as well-known traditional art which involves the application of the rhetorical technique that is commonly translated as allusive variation. According to him, such compositional practice is a significant device which is associated with Japanese poetry.

The article discusses the importance of literature in second language teaching particularly in helping students achieve English proficiency. It focuses on the communicative approach of language teaching and implies that the development of communicative competence should be the ultimate aim of language activity. It cites the relationship between language and literature.

THE AIM OF THIS PAPER is to discuss the thesis that the meaning of a literary art work is determined by the author's intentions. This master thesis implies a weaker thesis that may seem more plausible: a speaker (writer) has privileged epistemic access to the meaning of his utterance (sentence). But if this weaker thesis is accepted, a third thesis becomes persuasive: an author has privileged access to the meaning of his literary work. However, if we accept both the second and third theses we may become persuaded by the master thesis that initially seemed quite implausible. All three are false. Also false is the view that an author's sincere claims ("avowals") about his literary art work are incorrigible or that we need to give special consideration to such claims. I shall argue that these false views are supported by a fundamental confusion and that the notion of meaning does not explain the reader's understanding of a literary art work. [ABSTRACT FROM AUTHOR]