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While digital humanities has emerged as a cutting-edge research trend in the humanities over the past two decades, its application in literary research is still scarce. At present, the field of digital humanities for literary studies is largely focused on theoretical development, critical reflections, and infrastructure building. This article aims to explore the potential of digital humanities in advancing literary research through critical practices and elucidates the distinctive advantages of employing digital humanities methodologies in the study of literature. In this article, a dozen of children's editions of Robinson Crusoe from different historical periods are used as the corpus, and methods such as word cloud, keyword extraction, and sentiment analysis using Python are used to examine the adaptation of Defoe's original novel in children's editions and to uncover a positive inclination throughout the diachronic evolution of children's literature adaptations. It has also revealed some patterns within the intricate details of the different children's editions. In doing so, the article demonstrates the unique advantages of digital humanities in literary studies and proposes new ways of applying digital humanities to literary criticism. [ABSTRACT FROM AUTHOR]

The impact of Sokhan magazine on the development of literary trends in Iran is undeniable. One of the ways that this magazine took this purpose was the foundation of modern literary criticism. Focusing on specialized literary criticism was first started in this land by means of Sokhan magazine. The present study aims at analyzing the approaches of literary criticism in Sokhan magazine with a descriptive-analytical method. This study has finally concluded that in the first ten periods of the magazine, the works were criticized in the traditional way, but in the later periods, reviews appeared either through translation or written reviews by Iranian authors, which are included in the three categories of classic, pre-modern, and modern. Classical criticisms have dealt with the lexical-technical discussions of the works of poets and writers. In pre-modern criticism, in addition to explaining the necessity and importance of literary criticism, it is possible to pay attention to the criticism of human experience and coherence. In modern reviews, most of the new aspects such as the fluid flow of the mind have been analyzed in the works of poets and writers. Introduction The importance of magazines in literary circulation and especially in the development of new literary criticism deserves detailed research. Before the emergence of magazines in the new era, Persian literature had fallen into the cycle of repetition and petrification and it did not benefit from creativity and innovation (Parsinejad, 2001, p. 17). One of the influential magazines in this field is Sokhran magazine which was published over the years under the management of Parviz Natal Khanleri and led contemporary literature toward transformation. This work was mostly done through translation and literary criticism. From 1321 AH onwards, Sokhon magazine became a field for criticism and strengthening and guiding the literary talents of the time (Yahghi, 1996, p. 102). This study investigates the general approaches of literary criticism in this magazine. Materials and Methods This descriptive-analytical study uses a qualitative analysis method, and the statistical population is all the courses of Sokhran magazine. Research Findings Khanlari founded the literary-scientific-social monthly magazine Sokhon in 1322 AH with the cooperation of some prominent writers of that time, including Sadegh Hedayat, Bozorg Alavi, and Sadegh Chobak. The purpose of this magazine was to contribute to the progress and development of Persian literature through the publication of the works of contemporary and young Iranian writers and poets, the foundation and development of literary criticism, the promotion of scientific and literary research, and the introduction of writers and poets from other countries in the world through the translation of their works. Sokhon magazine started to define its policy from the very beginning and thus paved the way for literary critics and the spread of critical thinking in the magazine. It mainly aims at: 1. Proposing the needs and priorities of research in the unknown realms of ancient literature with analytical and critical scientific methods. 2. Critically investigating Persian prose and inventing a new plan with a scientific method to know the rhythm and Bahr of Persian poetry, separating the rules of Persian prosody from Arabic prosody, and establishing new signs and terms for it in the Persian language; 3. Designing the first topics of modern linguistics in Persian and publishing articles on topics such as the evolution of language, language and society, and language and dialect, which were written for the first time in Persian, and expressing the topics of scientific problems in simple, easy language; and 4. Introducing new writers and poets and encouraging them to continue their work by critically reviewing new books in the realm of fiction and poetry. By searching all the periods of Sokhon magazine, we came to the conclusion that the reviews of this magazine have three general approaches: Classical criticism, pre-modern criticism, and modern criticism, and examples of articles included in the magazine were provided for each approach. Moreover, critics were introduced under each approach. The new books section was a title that Khanlari had created in the last few pages of the magazine since the beginning of the publication of Sokhon in Khordad 1322 AH and reviewed new books. It is important from a historical point of view because its words are clear and concise in expressing the matter. There is no ambiguity or generality in its language. It tells the flaws and art of the work and introduces young writers and poets to the literary society of Iran. Many poets and writers who are famous today, have introduced and reviewed their first works in the notes of ‘new books’ in this magazine. Discussion of Results and Conclusion Considering the three approaches of classical, modern, and pre-modern, criticism in the magazine caused both new critics to be cultivated and was a step to stabilize new poetry in front of critics' criticism and pave the way for literary critics and the spread of critical thinking in the magazine. Then, Iranian and non-Iranian critics were introduced. This review and introduction in the magazine made the works of writers and poets visible and made non-Iranians become familiar with Iranians. [ABSTRACT FROM AUTHOR]

This article examines the power of special topoi to characterize the discourse of literary criticism, and through emphasis on rhetorical action, it sheds light on the limitations of topos analysis for characterizing research articles in disciplinary discourse more generally. Using an analytical approach drawn both from studies of topoi in disciplinary discourse and rhetorical genre theory, I examine a representative corpus of 21st-century literary research articles. I find that while most of the special topoi recognized by Fahnestock and Secor and Wilder remain prevalent in recent criticism, contemporary literary critics tend to draw on only a select subset of those topoi when making claims about their rhetorical actions. The topoi they use most often— mistaken-critic and paradigm —help identify the ways knowledge-making work is undertaken in literary criticism, a discipline often considered epideictic rather than epistemic. But what the special topoi do not capture is precisely the distinctly motivated, actively epistemic character of this disciplinary rhetoric. Based on these findings, I suggest that special topoi must be seen as functioning in the context of the rhetorical action undertaken by literary research articles. These articles undertake not simply persuasion but the particularly humanistic act I refer to as contributing to scholarly understanding : a rhetorical action worth attending to for scholars of disciplinary discourse, because it is deliberately more concerned with practice than product. [ABSTRACT FROM AUTHOR]

This paper presents a narrative analysis of the Passion in the Gospel of Mark with a view to an aesthetic interpretation. The classical method of literary studies is used to analyze this narrative. The purpose of this study is to read the Passion narrative from an analysis of the text as an aesthetic artifact and from its poetic configuration, because we consider that in the aesthetic shock there is also a religious experience with its own theological content. A state of the art is presented with respect to the latest theological and literary research with respect to the Passion narrative and, when necessary, the research refers to the historical discoveries that have been made by the most prominent specialists in Mark. Thus, it is discovered that in this text it is impossible to separate the aesthetics from the theological message and that in the form of the work there is a deep content. [ABSTRACT FROM AUTHOR]

The article presents the methodology and the results of the project "Digitalization of the repertoire of books from the Bulgarian Revival (1801-1878)" funded by the Bulgarian National Science Fund and coordinated by the University of Library Studies and Information Technologies. During Bulgaria's national Revival in the 19th century, printed books were published in Bulgarian language for the first time since the beginning of the occupation by the Ottoman Empire. As printing presses were forbidden in the Bulgarian speaking areas at that time, the books were printed in a huge geographical area: from Moscow to New York. With the implementation of the project the books of this period are compiled in one comprehensive online bibliography for the first time. The new information retrieval system applies innovative methodology of Geographic Information Systems which visualizes bibliographic information and allows its utilization by means of topographic indexes. The entries are also linked with the existing digitized full-texts of Bulgarian libraries and museums. The project's final product () will stimulate the interest of international humanitarian scientists on Bulgarian history, culture, and literature and will significantly improve the conditions for the preparation and conduct of research in the field of the Bulgarian Revival literature, literary and cultural history. At the same time, the information retrieval system will assist librarians in their daily work. With the project "Digitalization of the repertoire of books from the Bulgarian Revival (1801-1878)" a solid ground was built for future collaborations in this very special field, the digitization of rare printed books, which requires a high level of specialized knowledge and skills. [ABSTRACT FROM AUTHOR]

The article discusses contributions from literary research and how they imply psychoanalysis in their field of research. Close readings of Freud and Lacan serve as an opening to an overarching question: what can literary research teach us about psychoanalysis? A question that generates a paraphrase: how is psychoanalysis already involved in the practice of reading? The historical 'knowledge dependency' of psychoanalysis on the myth, the rhetorical potential and the resonance made possible by the figures of the literary dimension, and methods of contextualization in psychoanalytic literary criticism are emphasized. Psychoanalytic knowledge construction – from a literary speech acts perspective – can be understood as attempts to represent and deal with practice or reality and, more specifically, traumatic experiences. The article reflects on how the extent of clarity to which both theory and poetry can find words for the unconscious or 'the impossible' might manifest itself in a movement of return and departure in language. The article discusses how listening and translation can be enriching concepts in the relationship between psychoanalysis and literature. [ABSTRACT FROM AUTHOR]

This paper addresses the noticeably low presence of Canadian literature in hemispheric American literary research. The fact that hemispheric literary studies focuses on a comparison of the United States and Spanish America is partly because of Canada's marginal position in the Americas, its lack of identification with the continent, and Canadian scholars' reluctance to engage in hemispheric studies due to their insecurity concerning cultural identity and the discipline's potential imperialistic impulses. By examining a representative history of Canadian literature and several literary studies for intersections and tangencies between Canadian literature and other literatures of the Americas, this paper will demonstrate that there are natural links between them, which make a transnational comparative approach to Canadian literature both legitimate and desirable. [ABSTRACT FROM AUTHOR]

In the Holy Quran, word repetition, repetition of the whole or a part of the verse without any difference, and the repetition of the whole or a part of the verse are mentioned. These similarities are named as literal mutaşâbih. Although the Quran is the peak of the Arabic language in literary terms, it is the unique peak text of the Arabic language A number of unfounded claims have been made by some circles that look at the issue with ulterior motives that there are unnecessary repetitions in the Quran due to the verses with formal similarities. Many works have been written to explain the similarities in the classical and modern periods, It has been explained and proved that the similarities are not unnecessary repetitions and that they are intended for a purpose. With this research, the meanings of ta kavramrîf-taqîr concepts in terms of rhetoric will be discussed, In order to benefit from the explanations of the works written in the classical and modern periods, the semantic dimension of the partial differences included in the verses with similar words at the level of ta‘rîf-criticism Its value in literary terms will be revealed in the light of sample verses will be reveale. [ABSTRACT FROM AUTHOR]

Tâhirü'l-Mevlevî, who is both a poet with collected poems (divan) and a literature researcher, is a very productive person who has produced many works. Tâhirü'l-Mevlevî made researches and studies mostly on the history of literature and classical Turkish literature and wrote works on literary terms and concepts. While he explained the terms and concepts of classical Turkish literature in most of his works, he also included his opinions about various subjects related to classical Turkish literature. These are generally about the subjects for which classical Turkish literature was criticized after the Tanzimat. This study, which addressed these opinions compiled between the lines of the works named Edebiyat Lügatı (Literature Dictionary), Edebiyat Kaideleri (Literary Rules) and Tedrîsât-ı Edebiyyeden Nazm ve Eşkâl-i Nazm, tried to determine that how Tâhirü'l-Mevlevî approached issues as someone from classical literature and Ottoman culture. Furthermore, this body of work presents quite an amount of data on these issues considering its qualities, which in turn makes it possible to evaluate the critical nature of Tâhirü'l- Mevlevî.In the article, sixs works on literary terms and concepts that constituted the source of this study were introduced, then the abovementioned opinions of Tâhirü'l-Mevlevî were examined under some headings in the studies that were conducted on the discussions on classical Turkish literature. [ABSTRACT FROM AUTHOR]

Introduction The field of the history of literature is the genealogy of the culture of thought. Literary biography (Tadhkirah), as the first generation of the history of Persian literature, reflects the rise and fall of culture, literature, the acceptance of tradition and traditionalism, and the mirror of literary flow that can show the process of evolution and degradation-imitation in the literature. Tadhkirah contributes to the development of literary research, the introduction of literary traditions, indigenous language and literature, and national identity. However, despite the advantages of the Tadhkirah, there are flaws such as superficiality, celibacy, prostration, succinct writing, and chanting that have found their way into a number of Tadhkirahs. The history of literature needs to have a pathological look within itself in order to achieve growth and maturity. Pathology means identifying the negative aspects and purifying Tadhkirah. The pathology of Tadhkirah requires the use of ‘critical thinking’ to avoid illusory traditions and expositors and to acquaint the reader with the situational context of the creation of the text. Critical thinking provides us with the tools for the purposeful, accurate, and scientific evaluation of Tadhkirah. Methodology This descriptive-analytical study was done using the library method. It aimed to use a pathology approach in the field of history and literature in order to show the strengths and weaknesses of such studies inductively. Discussion The most basic tool for recognizing Tadhkirah is through using a critical approach. The pathology of Tadhkirah reveals some shortcomings and inadequacies. Therefore, it is necessary to look critically at the study of tradition, developments, and the decline of imitation to understand why in a historical period literary works were profound while in another period they became weak. Literary criticism mediates between the writer of the literary work and the ordinary reader by presenting the subtleties of literary works to the general public and streamlining the evolution of literary tastes. Criticizing Tadhkirah can identify stylistic, rhetorical, sociological, and psychological aspects in the production of science and knowledge. Results and Conclusions Tadhkirahs and histories of literature are a reflection of the culture and thought of a nation, the ups and downs of literature and culture. They can play a role in the analysis and understanding of literary texts. These works can well show the two opposites (evolution versus degeneration-imitation) in the context of the dynamics and statics of forms and themes. Tadhkirahs play a role in the expansion of literary studies, the acquisition of methods and criteria in literary historiography, the explanation of critical discourse and approaches, the cognition of study of literary trends and reflection of historical-literary events, the recognition of literary traditions, national identity and the interpretation of traditions, the description of aesthetic taste and the method of critique of literary predecessors, introducing native literature and ethnic, local and regional languages. But ambiguity, superficial generalization, haste, ignorance, exaggeration, rhetoric, love and hate, avoidance of firm and justified views have penetrated Tadhkirah. It is necessary to turn to critical thinking and pathology of such research. Using critical thinking in the study and analysis of Tadhkirah could lead to avoiding false imitation, and perverted literary traditions for pragmatism, destiny, passivity, perversion, bigotry, and contention against promotion and improvement, restoring data functions and improving the level of information of in the expansion of historical information in Tadhkirahs literary, attention to the level of perceptions and expectations in today's readers of the Tadhkirah and the contemporary researchers with the situational context of the creation of the text of the Tadhkirah and the perceptions and expectations of the traditional memoirist, improving the level of depth and value of the reader today than the correct and accurate analysis of the writer of Tadhkirah in recognizing the evolution of the past and encouraging the reader to avoid love and hate, intentions and narrow-mindedness, helping to the typology, classification and periodization of literary trends by combining critical thinking with attitudes towards literary genres and forms, elevation of the level of literary theorizing and accurate and correct analysis of literary texts and mull over ethnic, racial, religious, ideological and political limitations, etc. [ABSTRACT FROM AUTHOR]

Research is one of the necessary components of knowledge; steady and tenacious research that thinks about solving problems depends on scientific standards in seeing and writing. Also, literature as an identifiable object, not as a creative text, finds talent to be investigated from different scientific angles (Literary Research). Original literary research like every original research in other branches of knowledge needs a hypothesis. The hypothesis is a guess for the research question and is the spontaneous and elementary answer for that. Also, the hypothesis is important from different directions: correct diagnosis for research background, explanation of research map, and determining research method, till getting the best answer. Because literary researches often are descriptive, hypothesis quality in this research has its special logic. Many centuries have passed since the old definition of literature. Today Persian literature in the form of poetry or prose attracts both non-professional and ordinary readers and encourages literary professionals to research literature. Hypothesis making is one of the materials of literary research. Hypothesis means "idea" and "conjecture" and in the term, it is the initial and speculative answer that the researcher gives to the problem of research. This article advocates the existence of a hypothesis in literary research; if the literary research is done scientifically and based on the research problem, research background, and research method, it will also include the hypothesis. Of course, we must pay attention to the nature of literature and its difference with other sciences. The quality of the hypothesis, for example, in natural and experimental research differs from the quality of the hypothesis in literary research. Also, instead of dividing the types of research into explanatory research, descriptive research, and exploratory research, it is better to consider the hypothesis necessary in literary research. Most literary research is descriptive (purely descriptive or descriptive-analytical). Descriptive research requires a kind of hypothesis that explains the states, conditions, traits, characteristics of objects and persons, situations, phenomena, and events in relation to each other. Therefore, it is not correct to focus on the usual definitions of the hypothesis derived from different books and to rule that literary research does not require a hypothesis or that the hypothesis cannot have a positive effect on literary research. It should be noted that due to differences in the nature of literature with empirical and natural knowledge, literary research on the application of the hypothesis also has its own expression. Literary studies and research can be divided into three categories in terms of their goals: 1. Basic research. 2. Applied research (and development research as a branch of it). 3. Practical research. This model has been used in research proposals of Persian literature, such as theses or dissertations and research projects in this field, by imitating the regulations of research methods in experimental sciences. Often and perhaps always, the literary researcher, by neglecting the meaning of these terms and forcing them to adapt to the types of literary research, uses each of these three titles as the etiquette of his literary research. This is not very true, and the literature researcher, after placing his research in each of these fundamental, applied, and practical classes, is forced to design a model of the hypothesis that literary research cannot respond to and respond appropriately. Give. Dividing the research into three categories: 1) Exploratory 2) Descriptive 3) Explaining and limiting the process of hypothesizing to explanatory research has also been a solution to get rid of this bottleneck. It is worth noting that instead of clearing the face of the issue, it followed another plan so that researchers would not have an excuse to ignore the hypothesis. Although some literary studies, when they relate to the history of literature, resemble historical research or sometimes approach causal research, the main focus of literary research is descriptive research. In descriptive research, as mentioned, hypotheses have their own quality. It should also be noted that the hypothesis differs from the theory. Unfortunately, sometimes negligence has meant theory as well as a hypothesis, conjecture, and conjecture. But the theory is made after the hypothesis. Based on the hypothesis, literary research is formed, and if this research can lead to the solution of a public problem, it will include a general theory that can be accepted or rejected. This essay according to library study and descriptive & analytical, is looking for that in literary research is hypothesis has effectiveness and if that's true, because of substantive difference between literature and other knowledge, in literature hypothesis How should it be? Having an answer to this question also is with criticizing one theory: Process-driven hypothesis in literary researches. [ABSTRACT FROM AUTHOR]

Recent studies have shown that Benedetto Varchi was one of the most important intellectuals of the mid-sixteenth century. This article discusses the bibliography of the last twenty-five years and proposes an evaluation of the main lines of research that have developed in the various disciplinary fields (literary, historical, artistic and linguistic). [ABSTRACT FROM AUTHOR]

Personage is one of the main elements of literary works; as a result, it has entered the field of literary studies and research. The semantic-semiotic analysis, which seeks to study the process of meaning formation, considers personage as an evoked sign indicated by several physical and psychological features such as a specific noun. Mahmoud Dowlatabadi is an Iranian realist author that certain features of his works, like the creation of the characters, are comparable with some great realists such as Balzac. In addition, despite his poetic language and pompous text, silence has a remarkable status in his works. Most of Dowlatabadi’s characters are silent, even dumb, due to the inability to speak, the refusal to communicate, the suffering, the panic, etc. Based on the character semiotics, the present study aims to investigate the silence in the characters of Solouk, written by Mahmoud Dowlatabadi. To this end, we seek to refer to the principles of tensive semiotics and the theories that consider the character as a sign. This study, therefore, shows how the character/sign contributes to the formation of silence/sign in Dowlatabadi. As a result, we see how Dowlatabadi’s silence is linked to dysphoric affects and to various small units (semes), and then in profound generative ways, it is linked to the isotopic base of life/death. [ABSTRACT FROM AUTHOR]

Interest in prominent figures of the East, literary examples and historical events in this region became one of the main areas of literary research in world literature, which gave impetus to the creation of great works of art, especially in the literature of European peoples. Starting from the 18th century, French literature showed great interest in oriental subjects: Madeleine de Scuderi, Jean Racine, Charles Louis de Montesquieu, Donnie Didro, Jean-Jacques Rousseau, Francois Marie Aryu Voltaire, and in the 19th century Victor Hugo, Georges Sand, Alexander Dumas, Jules Verne. Literary figures such as Theophilus Gauthier, Alfons de Lamartine, Lille de Licont, wrote poems, novels and essays on this inexhaustible topic. In the twentieth century, this tradition was continued in French literature, and in the works of famous writers of that time, Henri Mass, Pierre Lotti, Louis Aragon, Georges Friel, Marcel Egreto, Heydar Bammat, a special place was occupied by oriental themes, valuable literary examples were created. The influence of these examples on French literature was studied. Scientific objectivity, comprehensive involvement of facts and information in the problem, comparative analysis, a critical analytical method, a causal method in studying realities were widely used in studying the problem, and the latest achievements of the country's literary criticism were taken into account. [ABSTRACT FROM AUTHOR]

This study aims to establish a theoretical framework for the critical scene in digital literature, as well as the disclosure of critical attitudes towards this new modern work, as well as aims to preview the scene and monitor its transformations by tracking the Trends of critical movement within its modernist tendency to employ contemporary digital technology and applications, by Previewing traditional literary texts and digital literary texts. To achieve its objectives, the study distinguished between two trends: Digital Criticism and Electronic (Artificial) Criticism, and adhered to a descriptive approach for processing, along with historical tools, and some comparison and stylistic tools. The study ended with a description of the critical scene in the digital literature, highlighting the trends of the critics in two directions: the traditional and the Electronic, and the latest question in this context: Can the machine practice literary criticism? [ABSTRACT FROM AUTHOR]

How has the language of economics, as codified by economics as a discipline, entered the US novel in the postwar period? Have economists influenced novelists at the level of language, and if so, how and how much? We begin with the belief, inferred from current scholarship on economics and culture, but never before empirically tested, that economic language became more prevalent around 1980, especially among white men—a belief that we strive to complicate and give nuance. Readers may detect an irony in the relationship between our method and case study. No academic discipline has valorized the use of quantification for social analysis more than economics. As a discipline, its language has become saturated with the language of modeling. Cultural and literary critics have long argued that economics has even harmed society by creating false accounts of how humans behave and think. Can we take their tools, however, and make them ours as a way to critique economics itself? [ABSTRACT FROM AUTHOR]

The last decade has witnessed an exciting resurgence in poetry, which is due in part to its increasing accessibility on the Internet. The Web provides the text and criticism of well-known poems within the established canon, as well as contemporary experimental verse that often challenges the notions of what a poem can be. This article discusses the development of traditional or academic poetry on the Internet while also covering the new cutting-edge verse that is expanding the genre into new poetic forms, and includes information on Web sites and databases that facilitate access to poems and poetry criticism. [ABSTRACT FROM AUTHOR]

This article introduces the debate over Teodora Dumitru's most recent work on Romanian modernism and its connections to the European definitions of the concept. Baghiu and Pojoga argue that there is a shift in Romanian literary criticism that needs to be brought forward in as many ways as possible, so that the new tendencies in literary research get more and more engagement in scholarly approaches. Such an outcome would provide a framework for the redefining of local literary history in connection to the transnational dimension of contemporary theory. [ABSTRACT FROM AUTHOR]

Branch of the research concerning Walter Benjamins literary reviews, this article looks forward a orientation throught two categories: the investigative contemporaneity and the extension of the object. It referes to Literaturgeschichte und Literaturwissenschaft, published 1931 in Die Literarische Welt, translated in portuguese and published by Editora 7Letras on 2016 as História da Literatura e Ciência da Literatura, and mainly to the review from 1931 published under the pseudonim Detlev Holz on 1933 in Literaturblatt do Frankfurter Zeitung about the Kunstwissenschaftlichen Forschungen I. Since 2014 the Nkf - Neue kunstwissenschaftliche Forschungen edition project, undertaken by alumni of the University of Vienna for the forum between established researchers and early stage researchers, is being constituted through the recovery or critical deconstruction of principles of the Kunstwissenschaftlichen Forschungen of the 1930s, which was founded in the context of the New Viennese School of History of Art. Available online at the University of Vienna and the University of Heidelberg websites, this new magazine has published thematic issues Utopien der Moderne, Wiener Schule and Digitalisierung. With the addition of the adjective neue (new), the forum explicitly refers to a discussion of methodology in the field of architecture, plastic arts and related disciplines. Because of the relation established between Benjamin and the Vienna publication, this article considers methodological overlaps and, although based on literary theory and criticism, it is also open to transdisciplinary contaminations and it has the same objective of reevaluating methodologies of working with texts. [ABSTRACT FROM AUTHOR]

The study attempts to define the genre features of romance based on the currently available research findings, but also taking into account a broader perspective of different meanings which the term assumes both in Polish and in the main European languages. Wierzbicka refers to English studies, as well as to Polish studies because these two languages have developed a similar distinction between romance and novel. The basic assumption adopted in this paper concerns the equivocal use of this term in literary studies, which obscures the picture of the history of literature. Therefore, the history of the term is discussed, which has made it possible to distinguish six different meanings of the term. The first, oldest meaning is specific to the era in which it appeared (like many mediaeval terms), and concerns works written in Romanesque vernacular languages as opposed to mediaeval Latin. It is not a name of a genre. The second meaning has been distinguished in two variants. Generally, it refers to a literary genre that is characterised by an adventurous love story and a protagonist who on principle is a lover. Variants of romance include different textual forms: in the 16th century, it was a poem of a specific narrative structure different from the epic, and in the 17th century it was (mostly) prose. The third meaning begins to dominate in the 18th century, and is an extension of the second meaning of the word "romance" in its second variant, namely, it covers all fictional prose of varied literary value. The fourth meaning was distinguished by English and Polish literary scholars of the second half of the 20th century, who undertook the 18th-century practice of juxtaposing "romance" and "novel". They recognised "romance" as a heterogeneous epic form characterised by the extraordinary and fairytale character of narrative fiction. The fifth meaning of the word "romance" refers to a lyrical genre. The sixth, contemporary meaning refers to popular literature, and specifically to a narrative genre that tells a love story. Each of these six meanings illuminates a different fragment of the literary reality. In this context, the question of which of them would be the most functional in literary research becomes all the more important. Wierzbicka argues that the second meaning, similar to the sixth meaning, will allow this term to be used with reference to all literature, without the risk of ambiguity. This is because the basic generic determinant of the second meaning coincides with the contemporary reading consciousness and today's use of the word, and thus it has a practical dimension. The following were considered genre features of romance: love story, which can optionally abound in adventures; a specific construction of the hero or heroine as one in love; the narrative structure consisting of many actions concentrated around parallel characters; prosaic or verse form; entertainment function (formerly also didactic). Historical variants of the genre are also presented, including the mediaeval chivalric romance, comic-ironic romance, 17th-century romance, sentimental romance, realistic romance. The proposed definition also enables a new look at the historicoliterary reality, especially of the mediaeval and early-modern period, whose narrative works escape the existing nomenclature. [ABSTRACT FROM AUTHOR]

It is widely believed that after the Fall of Antwerp (1585), sympathisers of William of Orange fled north or kept to themselves. An ostentatiously orangist manuscript produced in the southern city of Mechelen testifies to the contrary and shows that alternative opinions continued to linger in the Southern Low Countries. In a threefold research initiative, I will first study the manuscript and its makers, moving on to the literary culture of the city of Mechelen, in which the manuscript was produced. In a last stage, I will look for similar sources and incorporate printed texts, so as to shed light on the dialogue between two opposing memory cultures of the Dutch Revolt, in the Southern Low Countries. My research addresses questions relating to the function and cultural significance of early modern manuscripts, their relation to print, and their place in literary history. [ABSTRACT FROM AUTHOR]

Equiano, Tutuola, Ferguson, and others are among the forerunners and John the Baptist, as it were, who prepared the way in the propagation of African Literature. These literary writers of Nigerian descent laid the foundation of African Literature and bequeathed it to Africa's brightest literary jewel in the name of Chinua Achebe. This essay, therefore, seeks to establish the ground why Achebe deserves all the accolades of credit and encomium through his linguistic recipe. Achebe established the linguistic parameters in the standardization of African Literature through the insightful paper he presented at Makerere University in June 1952, during a Conference of African Writers of English Expression, and which he amply demonstrated in the publication of his epical novel entitled Things Fall Apart at a youthful age of twenty-eight. In the paper, Achebe convinced his audience, peers and mentees, critics and Metacritics, that language criterion as vehicle of linguistic expression should be considered a necessary condition, but not a sufficient condition in the determination of African Literature. Thus, writing as a teacher, Achebe incorporated language habits and patterns of thought or linguistic idiolect of his people as anecessary ingredient of local colour in African Literature. He expanded the linguistic scope to include cultural issues and oral literary repertoire of our heritage, which he judiciously documented in his literary works. These linguistic issues will represent the corpus of this essay for explication. However, the burden or problem which motivates this essay is the issue of wide acceptance of alien language as medium of expression of African Literature, as there are dissenting voices. The paper attempts to debunk this problem as inconsequential in the determination of authentic African literature; while method of study is literary or library research. [ABSTRACT FROM AUTHOR]

Some researchers feel so close to certain literary works that they may have trouble looking at them critically. Th e work I hold in this special esteem is Les Liaisons dangereuses (1782), by Choderlos de Laclos, which taught me, as a teenage girl, how the world works--or so I thought. What does this blind spot in my research imply about the way I believe we treat literature as professional critics? Specifi cally, how are critical approaches to literature unable to account for the complex relationship between our lives and our readings? Th is essay concerns my experience reading Laclos's text and how I felt the need to protect it from literary analysis. I also consider new methods for studying literature, such as those proposed recently by Rita Felski, which include our subjective reactions to our readings. Despite these new methods, Les Liaisons remains rebelliously outside the scope of my academic research. [ABSTRACT FROM AUTHOR]

This article aims to contribute to a renewed vocabulary in literary analysis, in particular with relation to studies focused on translation, multilingualism, oral cultures, and sound studies in fictional prose. Through an analysis of João Guimarães Rosa’s novella “O recado do morro” (1956), the study suggests the inclusion of two untranslatable words: recado and conconversa. The former, a Portuguese word that means “message,” “rumor,” and “warning,” simultaneously, refers to an imagined pre-babelic moment when nature “speaks.” The latter refers to a post-babelic moment, when the multiplicity of languages converses through translation in search of a shared meaning among linguistic differences. [ABSTRACT FROM AUTHOR]

Grande Sertão: Veredas (João Guimarães Rosa, Brasil, 1956) e Pedro Páramo (Juan Rulfo, México, 1955), apesar de várias diferenças, retratam regiões tanto experienciais quanto espaciais, e logram isto por meio da tradução delas para narrativas também espaciais e experienciais. Em ambas as obras, os espaços telúricos do sertão brasileiro e do llano mexicano se transformam em espaços narrativos em tradução triplicada: (1) As suas narrativas são construídas espacialmente através da ambiguidade temporal, (2) os romances são espaços participativos, convidando a colaboração do/a leitor/a através de pontes e lacunae e (3) os paradoxos e a falta de confiabilidade das narrativas refletem a complexidade espacial das regiões traduzidas. Estas regiões são geograficamente fixas, culturalmente inscritas e espiritualmente sentidas: o sertão de Grande Sertão: Veredas é uma transcendência imanente, e Comala de Pedro Páramo, uma história imanente da crueldade. Tradicionalmente celebrados por serem inovadores apesar de regionais, estes romances são, de fato, inovadores na sua relação com as suas regiões. Através de inovações paralelas na espacialidade, ambos os romances revigoram as conexões dos leitores com a terra, como os seus interlocutores e também moradores. [ABSTRACT FROM AUTHOR]

This article explores the debate around testimony and its place within a culture of memory vis-à-vis other kinds of discourses (especially the literary) as they pertain to a book that has garnered significant media and critical attention in Brazil, K. by Bernardo Kucinski. Based on real events, the author draws from his memories of those times, often writing about his own direct experience, but deploying a range of literary strategies to tell the story. In addition, the book provides an opportunity to insert Brazil into the discussion of the role of testimony in Latin American cultures of memory. The relative absence of testimonies in the country can be attributed to its protracted and controlled transition from dictatorship to democracy and the near thirty-year delay in creating its Comissão Nacional da Verdade, or National Truth Commission. Having gone through multiple editions in various translations and having been featured extensively at national and international literary events, Kucinski’s novel offers a window into Brazil’s memory culture and a basis for comparison with other countries in the region. [ABSTRACT FROM AUTHOR]

This issue of Diálogos magazine discusses the consolidation of Middle Ages studies. So, in this article, we present a literature review of Morgan in the Arthurian legend, from her medieval origins to her literary rescue, eight hundred years after being cited for the first time in literature. We base our considerations on theorists such as Câmara (2016), Carver (2006) and Kopřivová (2007). We concluded that this is a valid study because it dialogues with History and Literature regarding to Morgan's reflection in the history of Western women, not limited to the Middle Ages, but that it is enlarged in a multidisciplinary way. [ABSTRACT FROM AUTHOR]

This essay locates the theoretical scene of transatlantic criticism within the dialogical context of literary studies, whose European origins and Latin American elaborations account for variants and articulations that meet to create a horizontal tradition of critical knowledge. The author argues that transatlantic criticism also corresponds to the concept of the complementary of the cultural traditions both of originary languages and literatures, making language (Inca Garcilaso de la Vega, Guamán Poma de Ayala, José María Arguedas) a place not of binary oppositions but of inclusive and sequential collectivities and constructions. A hypothesis of literature as hospitality is consequently proposed as the task of criticism. [ABSTRACT FROM AUTHOR]

This article surveys the critical reception of Chaucer's works in nineteenth-century France and suggests what modern analyses of Chaucer's relation to France and literature in French might stand to gain from taking the perspective of French readers and critics into account. An intellectual reorientation of the "French tradition" would allow us to interrogate the inherited critical vocabulary in which we think and write about Anglo-French exchange and to reconsider the very categories of "English" and "French" themselves, whether literary, linguistic, political, or disciplinary. [ABSTRACT FROM AUTHOR]

Although recent scholarship on the Song of Songs has turned to literary approaches, these have not reckoned with literary criticism's return to aesthetics. This essay outlines current theory of aesthetic criticism and suggests ways in which it could be applied to the Song of Songs. [ABSTRACT FROM AUTHOR]

The author describes a study of network theory as it applies to analyzing plot and character in English poet and playwright William Shakespeare's "Hamlet." The modeling of a play is described, specifically reducing the text to the interactions of characters to form degrees of separation and distribution to create a system of regions. The author explains that the model can be used to experiment as well as applied to literary criticism. The article also applies the network theory model to the plays "Macbeth" and "King Lear," and "The Story of the Stone," and establishes networks for the Shakespearean character Horatio. The concept of symmetry in the models is analyzed.

The article discusses how religious impulses, ideals, and beliefs were translated into secular terms in early American literature. The author addresses an essay on this topic written by Joanna Brooks. The author explains that Brooks argues that literary scholars have begun to recognize that the work of American writers continued to overlap religion in their writing throughout the 18th, 19th, and 20th centuries. The author examines the narrative structures in the literary histories which Brooks proposes and critiques. The article also discusses the "threshing floor" metaphor which Brooks uses in her essay.

The intellectual relationship between Antonio Candido and Ángel Rama since 1960, intended to modify the long tradition of frustrated attempts to unify the Brazilianthought with in a Latin American thought. The present article analyses the influence Candido’s Formação da literatura brasileira (1959) and Literatura y Sociedad (1965) had in Rama’s transculturation model, developed thorough fully in his book Transculturación narrativa en América Latina (1982), as well as how this intellectual dialogue founded an original critical language that pursued to integrate the Brazilian literature as a part of a continental literature. [ABSTRACT FROM AUTHOR]

The purpose of this article is twofold. First, it aims to survey the abundant writings on manifesto. The study of existing definitions reflects the diffuse frontiers, even the confusion, among the political, the artistic, and the literary manifesto to a point where, besides attributing to it certain generic characteristics, it is difficult to speak of an evolution of the manifesto. Second, this article seeks to show the relationship between scholarly work on manifesto and the position of the researcher in the academic field. The researcher's position in the field of literary criticism is determined by the subject matter of his or her research. Hence manifesto, though a subversive, marginal writing, helps him or her "move toward the center." Marginal academic domains and peripheral research groups gain notice and centrality by advocating a new research program. Studies of manifestos played such a role for French Canadian literary scholars. [ABSTRACT FROM AUTHOR]

This article focuses on new literary models of agency for literary criticism in African studies. It discusses four dominant scholarly models of agency, the static model, annihilation model, resistance model, and appropriation model. The author provides an overview of the reciprocal enculturation model, which is considered as a relatively new social science agency model, the literary scholarship that depended on such a model, and its implications for Afrocentric arguments. A new agency model which depended on the written and oral definition of texts in various African literary studies is also indicated.

Presents literary criticism which attempts to examine the fundamental elements in African American poet Gayl Jones's artistic and philosophical journey toward mythopoesis. It particularly emphasizes the process employed by Jones in reimagining Brazilian slave history and filling the gaps of objective history to construct a memorable memorial. According to the author, like poets William Blake and Wallace Stevens, Jones often attempts to overshadow the self in creating mythic landscapes through a poetic wedding of language and imagination.

In this article, the author describes what he feels are emerging differences in literary research and criticism from those of his time. He describes his confusion as to how new scholars can study literature while resisting the ways literary criticism has become a substitute for dimensions of religious education.

The article investigates the influence of Restoration on the form of literary study through the use of the evidence of publishing history. According to the author, he was able to probe the conventions of literary history, and pose challenges to familiar notions of cultural change through the use of the evidence of publishing history.

Assesses whether manuscript studies in the early modern period have a future. Focus of manuscript studies in 1974; Manuscript surveys that began to percolate through in the scholarly community since 1980; Opportunities that evolved from manuscript studies.

The article examines literary critics who are advocating for the implementation of scientific methods derived from the postulations of the naturalist Charles Darwin into the study of literature. The author uses a paper presented by University of Missouri English professor Joseph Carroll as the point of initiation for this concept and then examines how it has progressed to garner support from figures such as Harvard University professors Steven Pinker and Edward O. Wilson. The application of principles of evolutionary biology and psychology to literature is examined.