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Patriarchy is a multifaceted concept and when we examine it through feminist discourse, it loses its authority. Patriarchy aborts all avenues of individuation for women and engulfs her into the complex web of domesticity, thereby glorifying all forms of self- abnegation. A close study of the intertwined concepts of 'marriage' and 'motherhood' within the institution of patriarchy, gives birth to further research about the analysis of the inter-related concepts of 'anonymity' and 'madness' with respect to "the great confinement" of women. Literary accounts have often been the rich storehouses of the physical and emotional response of the patients and this has often been an eye opener to the medical professionals. Many autobiographical accounts examine and document the inhuman nature of the patriarchal modes of medical treatment given to women, especially in case of treating hysteria. This paper is a critical investigation into these interlocking concepts, as reflected in the autobiographical short story "The Yellow Wallpaper" by Charlotte Perkins Gilman. The story unveils the failure of the inhuman "rest cure" treatment suggested to the patients of postpartum depression. The therapeutic fallacy of the patriarchal modes of treatment prescribed for women, as revealed in the text under consideration, becomes even more complex when we view it through Foucauldian paradigms. Ironically, the traumatized unnamed woman narrator, who becomes the representative of nineteenth century women, rebels against patriarchy and ultimately finds her freedom through insanity. Accordingly, when we dissolve the patriarchal prejudices of gender-based binaries, "the great confinement" of the 'feminine' explodes and the 'female' is born. [ABSTRACT FROM AUTHOR]

This paper looks at Carl Schmitt's critical analysis of Bettina von Arnim's works in his book Political Romanticism (1919). Most of the political Romantics who Schmitt discusses are conservative, such as Adam Müller or the mature Friedrich Schlegel. Yet Schmitt contends that political Romanticism does not possess an ideological core or a stable normative orientation: the Romantic subject only uses politics as material in its project of asserting and enjoying its own creativity. To demonstrate the opportunistic character of political Romanticism, however, Schmitt must study both reactionary and revolutionary Romantics. This paper argues that Bettina von Arnim emerges as his most prominent example of revolutionary Romantic, a fact that has been overlooked in previous treatments of his book. Schmitt also shows that all Romantics—Müller as well as von Arnim—are ultimately shaped by covert liberal presuppositions. Regardless of whether they stand with conservatives or radicals, they privilege the preferences and whims of the individual subject over the binding character of objective institutions. Schmitt's inclusion of Bettina von Arnim in his study thus allows him to highlight the apparent diversity of political Romanticism and to sharpen the image of Romanticism's fundamentally liberal character. [ABSTRACT FROM AUTHOR]

Discusses the manuscript writings of Francis Daniel Pastorius in the early Pennsylvanian colony. Pastorius' letter to his parents and friends on June 7, 1683 before departing from England; Publishing writings which served to spread his reputation as a leading figure of the Pennsylvania-German community; Rejection of European cultural norms; Meta-textual reflection of Pastorius' title pages.

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This paper examines the intertextual relationship between E.M. Arndt's Voyage Through Sweden in 1804 and E.T.A. Hoff mann's The Mines of Falun focusing on how the city of Gothenburg is portrayed in both texts. Many scholars have pointed out that Arndt's travelogue is an important pre- or hypotext for The Mines of Falun, while mostly reducing its role to a source text from which Hoff mann extracted information about local, that is to say Swedish, conditions and customs, terminology etc. This paper argues and illustrates that the intertextual relationship between these two texts goes much further than this: Hoff mann uses Arndt's favourable depiction of Gothenburg as a progressive and socially responsible city as a starting point for the introductory scene in The Mines of Falun, which focuses on and explores the darker sides of Arndt's literary depiction of early 19th century Gothenburg. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Anbar University for Languages & Literature / Magallat Gami'at Al-Anbar Li-Lugat Wa-al-Adabl is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals with the works of Fyodor Dostoyevsky and Lyudmila Petrushevskaya from the point of view of two disciplines - psychology (addictology), and literary criticism. The paper explores the authors' description of the symptoms of addiction, which manifests itself both in the consciousness, subconsciousness and behavior of literary heroes, as well as in their relationships, and the studies are reported by specific excerpts from the literary works. Based on the primary analysis of the text, it can be argued that Dostoyevsky already in the 19th century, in his works, described symptoms that were defined by psychology as a science only in the 20th century. Petrushevskaya often enters into an intertextual dialogue with Dostoevsky, describing gloomy heroes and hopeless life. The study analyzes specific symptoms and their application based on Dostoyevsky's Netochka Nezvanova (1849) and Petrushevskaya's The Glitch (1999). The purpose of the work is to draw attention to writers as psychologists, and to the skill of their artistic and psychological depiction of the external symptoms of various mental disorders through their literary heroes. This goal is achieved: 1) by identifying specific symptoms of mental disorders (addiction) of the characters; 2) a comparative analysis of scientific psychological material and literary text; 3) by comparing the artistic depiction of specific symptoms of characters in the texts of certain authors. [ABSTRACT FROM AUTHOR]

The ways Gothic fairy tales and fairy-tale feminism interact are not always clear. An undercurrent of feminist studies of fairy tales is fueled by the 1970s Lurie-Lieberman debate, which focused on the question of whether fairy tales liberate or repress women. Meanwhile, critics such as Lorna Piatti-Farnell and Lucie Armitt have offered studies of the interplay between Gothic horror and fairy tales. However, these studies have limits, often emphasizing the violence, self-mutilation, and cannibalism of women, like those in Jacob and Wilhelm Grimm's versions of "Cinderella" and "Snow White". This paper argues that "Rapunzel" (1812) is key for understanding the Gothic and feminist discourses of Charlotte Brontë's Jane Eyre (1847). Firstly, this paper argues that a self-reflexive and self-productive relationship between subjectivity and desire shapes and disrupts the Gothic, fairy-tale, and feminist discourses of Jane Eyre, resulting in a specular feminine-I that has inspired pluralistic readings of the text. Secondly, an analysis of the Rapunzelian metaphors of 'wicked' hunger and ideological towers unmasks the double consciousness that not only fetters feminine subjectivity but delimits the domestic structures of marriage and home. Multiplying the ways nineteenth-century Gothicism, fairy tales, and feminism may interact, Brontë's specular study of feminine desire makes way for a productive and agential feminine speaking-I. [ABSTRACT FROM AUTHOR]

Adam Mickiewicz never wrote down A History of the Future. We only have a few remaining fragments of the poet's project. However, A History of the Future exerted a powerful and long-lasting influence on Polish culture. After a sketch of these fragmentary contents, drawn according to Pigoń and Skwarczyńska, the main aim of this paper is to highlight the importance of Mickiewicz's project in the history of Polish literature and culture. Stressed are some aspects of utopian and dystopian thought, as well as the interest of Mickiewicz and other Polish Romantics in scientific and technical achievements. [ABSTRACT FROM AUTHOR]

The current paper explores the physicality in Jane Austen's novels, their film adaptations, and her personal letters. The nouns referring to human body are examined in terms of frequency and context. Corpus linguistics is used as a method, involving the use of in-built online corpora, offline microcorpus creation, and the use of part-of-speech tagger and a concordancer. The results allow to conclude that, firstly, to Austen, referring to the human body was less appropriate in private written communication than in fiction; secondly, the film adaptations use some words in a literal sense, while the novels - in a figurative sense. [ABSTRACT FROM AUTHOR]

This essay reads writings by J. Hector St. John de Crèvecoeur, including Letters from an American Farmer (1782) and Journey into Northern Pennsylvania and the State of New-York (1801) against Crèvecoeur's participation in transatlantic scientific exchange and the early history of the cabinet of the American Philosophical Society. Crèvecoeur's donation of a "curious book" of plant-based paper samples to the APS cabinet illuminates his consistent comparisons of his writings to specimens and lost manuscripts. By reading his work alongside the challenges faced by the APS to preserve and maintain its collections, this essay reveals how the instability of collections generated wider preoccupations about loss and longevity. Crèvecoeur's writings demonstrate the intersections between literary and institutional histories of collecting in the eighteenth century and suggest how various kinds of collections shaped literary production in early America. [ABSTRACT FROM AUTHOR]

Copyright of Studia Litteraria Universitatis Iagellonicae is the property of Jagiellonian University Press 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 his chapter on "The Whiteness of the Whale" Ishmael suggests that he joined Ahab's vendetta against Moby Dick in response to a kind of existential panic attack brought on by a series of associated thoughts having to do with white light. Whiteness Ishmael concludes is "the mystical cosmetic" which "for ever remains white or colorless in itself" and as such white light threatens to dissolve all color and hence all visible difference in the universe. While noting some of the ways in which light has served as a privileged metaphor for reason or in Ishmael's hands as an agent of deception (effecting various tricks of the light) this paper also thinks about light in the context of the developing nineteenth-century discourse on energy. Finally I propose that Ishmael's meditation on whiteness both registers and disavows light as the commodified product of the whale hunting industry. [ABSTRACT FROM AUTHOR]

This paper reexamines the first translations of Byron's 'The Isles of Greece' by Liang Qichao, Ma Junwu, Huang Kan and Hu Shi to highlight an essential facet of Chinese literary modernity – namely, the recourse to traditional poetic language and forms, which, though often dismissed as outdated and incapable of representing modern reality in the dominant narratives of Chinese literary history, nonetheless reflects a growing sense of urgency to find a new voice during the late Qing and early Republican periods. With considerable emphasis placed on the poetic form and narrative mode of both the original and its translations, this study facilitates a productive textual investigation into the temporal–spatial paradigm of progression and evolution of early modern Chinese poetry as well as modern Chinese literature from a historical perspective. The findings suggest that the poetic manipulations by the respective translators were in line with the nationalist discourse of the day and that their act of rewriting poetic tradition to integrate the legacy of the past into a new vision of the present established a far-reaching basis for the construction of Chinese literary modernity. [ABSTRACT FROM AUTHOR]

Hedges and boosters are two important sources of linguistic devices to express tentative evaluations and to mitigate solidarity with readers. Men and women have different tendencies of using these linguistic devices. Women are usually considered to follow a personal and polite style whereas men are more competitive and assertive. Hence, gender-preferential features of women and men are one of the prerequisites of understanding the functions of hedges and boosters. One relatively neglected aspect of gender-based studies of these linguistic devices is fiction. In this paper, we explored male and female English writers' use of hedges and boosters in HUM19UK Corpus, a corpus of 19th century British fiction. We calculated a statistically significant overuse in the deployment of hedges and boosters by female writers in the 19th century, which is an indication of a new writing style adapted by the female writers in that era. However, the most common items of hedges and boosters were identical in both corpora. [ABSTRACT FROM AUTHOR]

Jiang Chengyong is one of the most distinguished Chinese scholars of 19th-century western literature, whose works have guided our research in many directions and opened up new avenues for explorations. This paper attempts to survey Jiang's scholarship of 19th-century western literature and to highlight his achievements in this field from three aspects. First, it interrogates Jiang's efforts invested in 19th-century Western literary trends, with reference to his ambitious pursuit of constructing a critical discourse for foreign literature studies. Second, it attempts to reveal Jiang's methodological innovations in his works on 19thcentury western literature, especially in regards to his significant proposal for an interdisciplinary approach to foreign literature in "Internet-globalization" era. Third, it traces Jiang's exploration of the dialectical relationship between literature and science which is typically embodied in 19th-century western writers' "resistance" to and "acceptance" of science. [ABSTRACT FROM AUTHOR]

Throughout much of her career, Irish journalist Charlotte O'Conor Eccles (1863–1911) promoted other Irish women and supported better rights for working women. Along with this support was Eccles' belief that women should join social clubs and networks in order to excel in their own careers. Using both archival research and analysis of her journalism, this paper traces Eccles' involvement in nineteenth-century networks as she moved between Ireland and England. Eccles' participation in groups like the Literary Ladies' Dinner and the Writers' Club gave her access to various professional women, international and Irish, and influenced her writing, as indicated in this paper, in both her journalism and fiction. Furthermore, Eccles' comparison of private "at home" events or salons versus public social clubs in her novel The Matrimonial Lottery (1906), indicates her own feelings toward women's access to and the importance of these valuable professional networks. Tracing these networks is essential to uncovering the intricate connections Irish women, like Eccles, created as they not only succeeded in their careers but supported each other. [ABSTRACT FROM AUTHOR]

This paper is aimed at a brief exploration of several intermedial aspects of the novel and the play Thérèse Raquin written by Emile Zola. We try to show how the author succeeded in turning a novel into a play and the transformations that occurred in this process. This paper is organised into three sections. In the introductory section we will try to define the concept of intermediality, to specify our theoretical positioning. In the second section, we will talk about the novel from the point of view of the naturalistic aesthetics, fixing some details that have been developed in the play. In the third section we will apply the concept of intermediality to the framework of the filmed play, considering the actor's body as an intermedial being part of a complex device that is the representation of a play. [ABSTRACT FROM AUTHOR]

This paper considers the sequel Dostoevsky planned to write for The Brothers Karamazov – through the sources of his wife Anna, the biographer Nina Hoffmann and A.S. Suvorin's diary, through the novel itself, and through Dostoevsky's post- Karamazov notes. It sees Alesha's fate in the sequel as a "Russian socialist" who will try to build Zosima's earthly paradise of universal brotherhood, a notion for which there are deep affinities with Dostoevsky's ideal of a Golden Age of international socialism. It contends that Dostoevsky was influenced by Hegel's Phenomenology of Spirit for Alesha's epiphany under the "stars" – where he is at one with the universe, like the more spiritual people of the antique Golden Age – and that this episode initiates his quest to establish Zosima's paradise on earth or Dostoevsky's new Golden Age. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Oral Folk Literature / Estudis de Literatura Oral Popular is the property of Universitat Rovira I Virgili 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.)

A rich array of original Christmas folklore, mythology, and stories exists in Yiddish. In this paper, I present a framework for understanding the Yiddish literary response to Christmas in the context of a dark midwinter folklore that has evolved across cultures since antiquity. Among Christians, this midwinter folklore gave rise to the fundamental Christmas literary motif of the balance of cold and darkness with warmth and light, with the latter two often signifying comfort and goodwill. I argue that the fundamental Christmas literary motif employed in Yiddish is consistent with that of Christians, but key elements are distorted to reflect a distinctly Jewish perspective: Yiddish folklore inverts the figure of Jesus from being the Christian emblem of light into an emblem of midwinter darkness, and modern Yiddish literature adapts the motif of balancing darkness with light as a metaphor for balancing Old World and New World values. Whereas light characteristically prevails in the traditional Christmas story, the Yiddish Christmas story corrupts this optimism to express Jewish sentiments about Christianity and the non-Jewish world. [ABSTRACT FROM AUTHOR]

Through an analysis of literary examples from the turn of the 18th and 19th centuries (in particular those of Jean-Jacques Rousseau and François René de Chateaubriand), the paper proposes to reflect on the nature of water as an aesthetic element, in the strict sense of the term, which separates and connects and makes it possible to perceive space in the text. The aim is to show that analysis of the poetic use of the image of water, which is somewhat conventional and stereotyped, helps us understand the transition between two spatio-temporal visions, that of the Enlightenment and that of the Romantics. [ABSTRACT FROM AUTHOR]

The paper aims to study the evolution of the representation of nature in travel literature between the 18th and 19th centuries. It seems that the representation of nature constitutes a novelty in the 18th century. The first group of texts, that of the naturalists, can inform us about a new interpretation of the notion of nature as well as about the possible ways of writing nature in the 18th century. For this reason, we will first study some excerpts from Voyages dans les Alpes by Horace Bénédict de Saussure. He is exalted in front of intact nature, a true scientific object. The second part of the presentation will be devoted to the presentation of the various aspects of nature in the accounts of the trips made in Hungary during the years 1830-1840. In general, for travellers, unspoiled (or messy) nature depreciates while the cultural landscape (tamed nature) is enhanced. [ABSTRACT FROM AUTHOR]

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The present article seeks to read Thomas Hardy’s Tess of the d’Urbervilles and Sadeq Chubak’s Puppetry (Kheymeh-Shab-Bazi in Persian) in order to demonstrate their similar treatment of both ‘the natural’ and the fate of human beings when positioned in contrast with the natural. Hardy and Chubak, despite belonging to distinctive contexts, were both under the influence of the premises of Naturalism. The present paper aims to explore these two works of fiction in order to compare the way both authors employed the Naturalist literary trend in their style of writing, characterization, and perspective. Both authors employed an objective viewpoint, pretty similar to how scientists approach their object of study; they kept their distance from their narrations, with no particular effort to interfere in or to comment on the occurrences of such narrations. This research focuses on how, through utilizing Naturalistic principles, they endeavored to expose the quivering position of human beings when exposed to the powerful impacts of the natural. The study focuses on their similar approaches towards apparently dissimilar issues which, despite the considerable discrepancy concerning the socio-cultural contexts of their works, lurked below the surface of the fiction they produced. [ABSTRACT FROM AUTHOR]

The present paper reads The Idiot in the context of Hegel's philosophy of history and subjectivity and finds that Dostoevsky's avowed interest in Hegel led to a substantial absorption of Hegel's thought in his own aesthetics. Dostoevsky's educated readers of the 1860s saw the novel as a moral history of the age, represented through an eccentric « new subject » (or the « new people »), embodied in marionette-like characters. The present paper explores this view further and finds that these marionette-like characters function as agents of the unconscious (and pre-empt the aesthetics of the theatre of the Absurd), which is the source of all subjectivity. Expressivity is the defining feature of subjectivity and is represented by means of pathological states – lying and self-destructive tendencies of the characters who display a pathological demeanour. Caprice (will power) is the prime mover of this subjectivity, which, in the context of Hegel's philosophy of history, is the driver of the historical process and a direct expression of « Geist » or spirit of the people. This spirit comes to expression in different types of Russian national discourses, embodied in the myriad of embedded stories narrated by the characters on stage and off stage, and in stories within stories of episodic characters. These embedded episodic narratives, consisting of verbal pictures (or ekphrases), tell the story of Russia's historical development from Peter Great's time to Dostoevsky's present of the 1860s. This is the story of the demise of the old « estate culture » of traditional Russia, with a « new Russia » emerging into history, which is grounded in an indeterminate subject of history, whose « pochva » (« soil ») is the groundless ground of language and an ethics of individual freedom. Both of these elements of subjectivity, which define the « new people », are negativities shaping a new dialectics, which is both form and content of the new self-conscious "world-historical individual" – Hegelian Man - through which spirit (Geist) manifests itself in the "present moment" of Dostoevsky's Russia. [ABSTRACT FROM AUTHOR]

The paper discusses the problems of historical poetics of translation and unveils intertextual relations between Arthur Rimbaud's "Fétes de la faim" (1872), David Burliuk's Cubo-Futurist "Op. 75" (1913) and three Polish translations of Burliuk's poem provided by Jerzy Bandrowski (1921), Anatol Stern (1971) and Edward Balcerzan (1971). Blurring the distinction between originals and translations, the analyzed poems highlight the creativity of poets-translators in the development of the 20th-century European poetry with its inherent intercultural and interlingual displacements. Successive revitalizations of "Rimbaud's avant-garde tradition" bring awareness of the historical-literary activity of translation. [ABSTRACT FROM AUTHOR]

Jan Kasprowicz was one of the most prominent authors at the turn of the 20th century. He was also a very eager translator. All scholars agree that, above all, he was interested in works of those authors who expressed ideas similar to those he himself believed. In my paper I would like to take a closer look at two works by Kasprowicz, Baśń nocy świętojańskiej and Uczta Herodjady, and discuss whether the Oresteia by Aeschylus, which Kasprowicz translated at the time, influenced those works. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Oral Folk Literature / Estudis de Literatura Oral Popular is the property of Universitat Rovira I Virgili 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 Angles: French Perspectives on the Anglophone World is the property of Societe des Anglicistes de l Enseignement Superieur 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.)

At the threshold of the nineteenth century, the collapse of the salons, the new gestalten of education, a new role of literature and the occurrence of the pre-romantic sensibility resulted in a remarkable increase of the yawning gap between the scientific communities and literary men. A prejudice against mathematics gave a new lease of life to the reintroduced belief that pursuing mathematics corrupts hearts and cools human imagination. The aim of the present paper is to restore the epistemic and ideological background that allows one to understand the terms of the debate and to identify opposing ideas. With this end in view, the paper focuses on the cultural and philosophical opinions of François-René de Chateaubriand whose The Genius of Christianity (1802) extremely polarizes the attitudes of supporters and opponents towards mathematical thinking and abilities. [ABSTRACT FROM AUTHOR]

This paper examines the experience of the first generations of women studying in Switzerland. The text corpus consists of autobiographical accounts, letters, and fiction by German, Russian, and Polish authors. Among the first female students in Switzerland, there were such figures as Vera Figner, Olga Lubatovich, Franziska Tiburtius, Ricarda Huch, Rosa Luxemburg, Anna Tomaszewicz-Dobrska, Gabriela Iwanowska-Balicka, Zofia Daszyńska-Golińska, and Józefa Joteyko. The paper discusses the issues of (international) female cooperation and solidarity, on the one hand, and, on the other, it highlights the disparity between the self and the world, as well as the efforts to maintain the separateness of the national group. [ABSTRACT FROM AUTHOR]

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

The label "a Poeish tale" was tagged to "Bartleby, the Scrivener: A Story of Wall Street" since its serial publication in 1853. In 1969, James Colwell and Gary Spitzer offered a compelling comparison between the story of the copyist who resists both obeying the orders and abandoning the chambers of his legal employer, and the tale of the stubborn raven of ill-omen who harasses the "chamber door" of a studious subject in Poe's most famous narrative poem, "The Raven." This paper tracks Poe's poem as a possible subtext for Melville's Bartleby, analyzing what, in Melville, departs from Poe's solipsistic view of the poet as reader tortured in a cloistered, immanent world of his making, and instead takes as its focus the man of letters in an expanding marketplace, and his confrontation with the scrivener and the wall, or page, which neither his eyesight nor his report can interpret or illuminate. The essay describes three structural dichotomies in both works: the settings of the chamber and the office; the tone of the refrain and the formula; and the widening scope of "letters," from literature to law, which facilitates the fluctuation of signs. The analysis argues for the centrality of language and heuristic (in)capacity as crucial for Poe and Melville, both of them heralds of the Romantic crisis of literature where the human subject is left dwelling alone, reading obscure material (in "The Raven") or writing copies (in "Bartleby"), and shut off from words or referents outside or beyond the imagination. [ABSTRACT FROM AUTHOR]

Disability was a ubiquitous image in the fiction of the nineteenth century, an age which witnessed controversial discussions regarding the questions of normalcy and deviance. Considered by many as the most famous writer of the period, Charles Dickens also widely employed disabled characters in his novels. One of the most memorable of these characters is Tiny Tim, a disabled child in Dickens's novella A Christmas Carol, whose pathetic condition greatly moves Scrooge, the narrative's notorious protagonist, facilitating and expediting his spiritual transformation. This paper aims to analyze the character of Tiny Tim and his influence on the main character in the light of the theory of narrative prosthesis. Introduced by disability critics David T. Mitchell and Sharon L. Snyder, the theory holds that disabled characters have served as prosthetic devices in many narratives; that is, they have not been appreciated, described, and understood for who they are as physically / mentally different people. Rather, they have only functioned as metaphors and symbols that have been constructed to convey a moral message to "normal" characters and readers. Research findings show that Tiny Tim exemplifies narrative prosthesis as his short presence in the work only reinforces the ableist discourse of the novella. [ABSTRACT FROM AUTHOR]

In this paper the author analyses Teodor Tripplin's Wspomnienia z podróży from the perspective of animal studies. The book is a travel memoir containing elements of fiction and it was published in the 19th century. Beginning with an introduction to the situation of animals in that time, the author of the article moves away from the protagonist and his human companions and instead focuses on their perception of the animals they encounter while traveling across European and African countries. There is a clear division between those animals that are close to humans, classified as "intelligent" (like dogs), and wild animals, which are divided into four categories: food, fur, entertainment and danger. The author often attributes human characteristics to dangerous animals in order to "prove" their real nature to the reader. Wild animals should be killed or tamed, while the purpose of companion animals establishes their usefulness to humans. There are tropes of speciesism and examples of the use of animals, not only in practice (physical labor) but also in symbolism and language, including stereotypically common terms and phraseological patterns. The purpose of this article is to analyze Tripplin's works in order to illustrate how the traveler viewed and described animals and how this relates to the history of the formation of animal rights. [ABSTRACT FROM AUTHOR]