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Why is Deleuze important to literature? For Deleuze, literature is the capitalised Life, which I argue is essentially an in-betweenness based on the dissolution of transcendental Kantian-Cartesian subjectivity. This perception of literature can lead to a creative functionalistic reading of literature, including the following three functions: (1) the in-betweenness between the transcendental and the empirical, (2) the in-betweenness between the public and the private, and (3) the in-betweenness between the general and the generative. These functions which are focused on the creator perspective can alleviate the anxiety over ‘the simple application of theory in literary textual analysis’ because they encourage authors and readers alike to create concepts. It is not only an active response to the question mentioned in the beginning, but also a practice of Deleuze’s philosophy of creation. [ABSTRACT FROM AUTHOR]

This article's main primary is to look into Ursula K. Le Guin's writings and examine how her words have influenced utopian literature while also giving particular focus to her crucial role in the genre of science fiction, consequently diving into the analysis of one particular book she wrote entitled of The Dispossessed: An Ambiguous Utopia. Le Guin's description of the twin planets, Anarres and Urras, and their inhabitants' lives, defy traditional concepts and extend the frontiers of speculative fiction through the use of opposing ideologies and philosophical insights presented in the novel. This essay will also deepen on Le Guin's legacy as a visionary author who played a crucial role in reshaping the views on fiction and leading us to reformulate our thoughts on utopia and the way we see the world we live in, therefore influencing the following generations of writers and readers and inspiring new possibilities within utopian literature. While making references to important topics such as anarchism and feminism, which are subjects that remain matter of discussion still, the author leads the readers to also reflect upon freedom, power dynamics, and what makes us human. By examining the multiple layers of The Dispossessed along with the context and the author's legacy in literature, this study reflects the power of speculative fiction in making us question societal norms and to resist the limits on our understanding of the possible and the better. [ABSTRACT FROM AUTHOR]

Purpose: Preservice English teachers are expected to use literary theories and criticism to read and respond to literary texts. Over the past century, two of the most common approaches to literary encounters in secondary schools have been New Criticism – particularly the practice of close reading – and Rosenblatt's transactional theory, both of which have been expanded through critical theorizing along the way. Elucidated by data produced in iterative experiments with Frost's "The Road Not Taken," the authors reconceptualize the reader, the text, and close reading through the critical posthuman theory of reading with love as a generative way of thinking outside of the habitual practices of European humanisms. Design/methodology/approach: In "thinking with" (Jackson and Mazzei, 2023) desiring-machines, affect, Man and critical posthuman theory, this post qualitative inquiry maps how the "The Road Not Taken" worked when students plugged into it iteratively in processes of reading with love, an affirmative and creative series of experiments with literature. Findings: This study mapped how respect for authority, the battle of good v evil, individualism and meritocracy operated as desiring-machines that channeled most participants' initial readings of "The Road Not Taken." In subsequent experiments with the poem, the authors demonstrate that reading with love as a critical posthuman process of reading invites participants to exceed the logics of recognition and representation, add or invent additional ways of being and relating to the world and thereby produce the possibility to transform a world toward greater inclusivity and equity. Originality/value: The authors reconceptualize the categories of "the reader" and "the text" from Rosenblatt's transactional theory within practices of reading with love, which they situate within a critical posthuman theory. They eschew separating efferent and aesthetic reading stances while also recuperating practices of "close reading," historically associated with the New Critics, by demonstrating the generativity of critically valenced "close reading" within a Deleuzian process of reading with love. [ABSTRACT FROM AUTHOR]

This essay seeks to discuss saudade (of, and not in, Victor Heringer) as an attempt to pay homage to him in the sense that the reading of his literary production can, in a personal and non-transferable way, almost like the event, change the perception, and open new understandings, not only of the work itself but also of the tension in the theory that creates generic, universalizing formulations. Through movements that seek to reflect on the junction of what is read through the literary as the basis for questioning the theory without separating one from the other, we will re-read arguments around the chronicle genre and how literature would have the capacity to change someone's life and to produce, as a result, an attempt to understand what remains when the author-reader relationship is broken and what remains, in terms of survival and affection, after the author's death. [ABSTRACT FROM AUTHOR]

This paper investigates how the unsaid, invisible meanings can be brought to light by a process of validated interpretation. Given the variety of literary texts, a single reception procedure cannot be practiced. Poetic writings, novels, essays, and volumes in the field of correspondence or journalism are addressed to different types of readers. Acting as relatively independent elements, textual discourses stand out especially for their communicability insofar as they are coherent and are designed to convey something. The text is not an independent institution but multi-institutional. Books have no value in themselves; literary or scientific productions are waiting to be caught in the global circuit of communication and hope to enter the interpretive radius of the receivers. Interpretive strategies end with the unearthing of meaning. The careful capture of the meaning requires from the reader a strong personal commitment as a result of which the sweet taste of the dialogue with the book is cultivated. This dialogue allows the readers to talk to authors from different times, becoming a universal interlocutor, contemporary with the whole world. [ABSTRACT FROM AUTHOR]

Copyright of Bajo Palabra: Journal of Philosophy is the property of Bajo Palabra: Journal of Philosophy 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 Reti Medievali is the property of Firenze 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.)

This study aims to contribute to the field by exemplifying self-reflexivity, a method that has not been used much in research in the field of Turkish Literature, on Oğuz Atay's novel Tutunamayanlar. Self-reflexivity is generally used in the sense of "turning to oneself and being self-aware". Self-reflexivity, which is a method that can be applied in all branches of art, can be handled from different perspectives such as the work, the author and the reader. It is mostly applied in postmodern novels in international studies, as it takes place in the literary work in the form of reverting the work to itself through metafiction, reminding the reader of the fact that the text is a fiction. In addition, it can be expressed as a return to literature, that is, to the field of art to which it belongs, and finally, the positive or negative perceptions and awareness of fictional people towards themselves. In the study, Tutunamayanlar will be discussed in terms of the inclusion of literature in the work with many aspects, including metafiction, and the fact that the characters of the novel experience a self-reflective process. The intense self-reflexive nature of the process that continues until Turgut finds himself after Selim's suicide necessitates the novel to be handled with this method. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the absence of such an assessment, Schwartz produces a forceful critique of nationalist historiography, but his own conclusions about the periodization of Persian poetry and canons must remain more uncertain. Several generations of new narratives about the transregional "cosmopoli" or "scriptworlds" of premodern prestige languages have sent scholars back to the archives to begin reading the vast corpuses produced in peripheral regions. In Persian literary studies, the process of denationalization began in earnest in the 1990s, as scholars in Iran revisited and reconsidered early modern Indo-Persian poetry that had long been dismissed as decadent by Iranians. [Extracted from the article]

As in the case of Franz Kafka and other authors like Franz Werfel, Joseph Roth, Arthur Schnitzler or Leo Perutz, it is necessary to take seemingly secondary or even hidden allusions to Jewishness very seriously. Only then it is possible to achieve a better, deeper and even completely new understanding of their works. Following on from H. G. Gadamer we must acknowledge that Jewish authors like their readers understand their texts in a fundamentally different way than Christians, due to their own horizon of understanding. [ABSTRACT FROM AUTHOR]

Copyright of Educacao e Pesquisa is the property of Faculdade de Educacao da Universidade de Sao Paulo 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.)

Unanimously considered one of the greatest Latin American writers of the entire 20th century, the Cuban Guillermo Cabrera Infante is also the author who, despite his tendency to ignore the pattern of traditional fiction, also succeeds in establishing a new type of connection to the great tradition of world literature, following the steps of Miguel de Cervantes and, up to a certain point, symbolically going back to the celebrated model of Don Quixote. Cabrera Infante's masterpiece, Three Trapped Tigers (Tres tristes tigres, 1965) thus questions the place and meanings of literature itself in the contemporary world, and the characters involved in the process organize their (fictitious) life around textual aspects, underlining the importance of a new kind of interpretative relationship, to be established between reader and writer. [ABSTRACT FROM AUTHOR]

The paper deals with the genesis and transformation of the moon metaphor in Georgian poetry. Popularity of unconventional verse, ignoring of basic poetic parameters (meter, rhyme, stanza) enhanced the depth and meaning of figurative speech in poetry. The moon metaphor took shape especially in Georgian modernist literature of the early twentieth century and modern metapoetry. J. Huizinga considers poetry within a game framework. The mystery of the poetry, the function of a riddle, game unites modern reader and the poet best of all. Every image contains the answer to an enigma through the game. In poetry this game is especially tense and excitable. The mystery of the origin of the Georgian alphabet is connected with the metaphor-symbol of the moon, and in one of the oldest Georgian folk mythological verse, the moon is presented as a writer (“the bright moon ...” “wrote letters with the sun”). In Georgian folk poetry, a poet is on a par with the moon. In the same way, a female protagonist of the Vephistkaosani, Nestan-Darejan whose constant metaphor in the poem is the moon, is also connected with writing. She writes a letter to Tariel (the sun) from the fort of Kajeti. Similar to the ancient Georgian mythological verse, in Vephistkaosani the moon also represents a poet who writes poems to the sun. This study pays special attention to the interpretation of the moon paradigm in Galaktion Tabidze’s poem “Death from the Moon”. When interpreting the moon metaphor, we rely on the Paul Ricoeur’s metaphorical theory and psychological aspects: in the process of imagination, a delay acquires particular importance as a stage to produce new reality, invention. The poet is this genius who generates split references by creating fictions. It is suggested that the allusions of Nikoloz Baratashvili’s poem “Twilight over Mtatsminda” unite G.Tabidze’s two poems: “The Moon over Mtatsminda” and “Death by the Moonlight”. The iris-blue moon against the background of dark-blue rivers is visually perceived. The feeling of an innocent soul tired of prayer (moon) is perceived through the fragrance (flower field). Here we should also mention the connection of this artistic image with the Vephistkaosani; a letter sent from the fort of Kajeti has the scent of Nestan-Darejan’s hair. In conclusion, it is mentioned that we rely on Paul Ricoeur’s view of the relationship between the concepts of poetic image and poetic sensations, i.e., in this case, it determines the relationship between agreement and disagreement – at the level of thought (delay) and necessity (reference). The way of conceiving the symbol of the moon metaphor in G.Tabidze’s mystical poem (“Death by the Moonlight”) is related to the joining with mystical process of writing the verse by a symbolist poet. The way of unraveling the metaphor-symbol of the moon in G.Tabidze’s mystical poem (“Death by the Moonlight”) is related to the communion with the mystical process of writing the verse by a symbolist poet. Both in “The Moon over Mtatsminda” and the “Death by the Moonlight”, G. Tabidze leads us to the mysterious, imaginary world of “nonbeing” against the background of the death of reality (“being”). The poem “Death by the Moonlight” is written using allusions to the read books (imagination) and accompanied by twilight (perception). The recognition of the moon paradigm in analyzed verse is explained by the close connection between imagination and perception when comprehending the semantic side of the metaphor. When imagining the “read books”, first of all, “Vepkhistqaosani” and Nikoloz Baratashvili’s “The Moon of Mtatsminda” are meant, and a “stream of violets” pouring from the moon, “myrrh-bearing women of Syria” are explained by the perception of the Holy Spirit, the patron of poetic inspiration. “Blue, foamy waves of rivers rush towards the Black Sea and the Caspian Sea” – this metaphor underlines a connection between heaven and earth. G. Tabidze’s moon unfolding like a flower, most often is of iris blue, dark blue (“The Moon over Mtatsminda”, “The Heart”, “The Death by the Moonlight”, etc.). Imagining the colors in the “Vepkhistqaosani”, we recall deadly pale Tariel, restored at the sight of lion’s blood against the background of red, yellow, blue colors. These colors also dominate in the analyzed poem of Galaktion Tabidze. Striving of the rivers illuminated by blue moonlight towards the Black and Caspian Seas is an eternal strive for merging the individual and eternity, the national (Georgian) and the universal (world). G. Tabidze’s “Death by the Moonlight” is inspired with anti-solar, somnambulistic aesthetics: it is an expectation stored in memory, different from solar existence. According to the analyzed poem, the poet-moon Nestan and her beloved sun – Tariel (blue river) – the sun forms a new poetic consciousness through the eternal union of the moon and the sun. The paper shows that the metaphor “blue rivers” in G. Tabidze’s poem “Death by the Moonlight” determines the artistic image of the lyrical masterpiece of the wellknown modern Georgian poet Besik Kharanauri’s “February”. Iori Floodplains”: “The moon illuminates the blue rivers of Georgia.” The “dark blue wave” (G. Tabidze) and the “dark blue rivers” (B. Kharanauli) are perceived as the union of heaven and earth. Striving of the rivers illuminated by dark blue moonlight towards the seas is a symbol of merging of the individual, the personality with the eternal, the way of endless development of the national and universal, Georgian and world culture. The moon brings together: love (general) and beloved (specific), poems (masterpieces of this or that poet) and rivers, the seas (world poetry). The national poetry joins the world literature and becomes eternal under the moonlight. The moon – a friend to lovers is the oldest and most eternal metaphor of the world poetry. The paper analyzes Federico Garcia Lorca’s “Romance sonambulo”. In “Gypsy Ballads” there is a blend of new metaphorics, avant-garde and high classics (David Tserediani). In this study, Baudelairean, Lorca’s metaphor of “green moon” is associated with Terenti Graneli’s poem “The Moon from the Leaves”. The paper also deals with V. Bryusov’s game theory and the principle of panestheticism: the structures of the life text represent thematic material and “tools” for literary texts: life is given to a poet to be transformed into art, and vice versa, art is necessary for it to become life. At the same time, only the life of a poet, the cult of self-expression and the “theatricalization of life” are considered real life. For Galaktion Tabidze, the author of “Artistic Flowers”, the opportunity to be established in the reality is metaphorization of feeling created by visual image of “read books” and “Georgia’s blue rivers”. The inspiration source of G.Tabidze’s “moon” is considered to be one of the miniatures of Charles Baudelaire’s collection “Poems in Prose”. The paper analyzes the semantics of the word “somnambule” according to interpretations of Sulkhan-Saba Orbeliani and David Guramishvili. In the epoch of Renaissance (18th century), a somnambulist was considered a “devil”, “demon”, sick person. David Guramishvili calls somnambulist martyr by sky. Symbolists as is known recognized demonic position of a poet-demiurge who is opposed to absolute supremacy of God-creator. “Tanatos” (death) and “eros” (love) peculiarly intersect during understanding of the essence of a poet-somnambulist. The artifacts of “somnambulist” are for the first time found in Valerian Gaprindashvili’s “Daisi” in the poem “Somnambula”. This collection and its author became a source of inspiration for the poet Ivane Babuadze, persecuted by Soviet regime, who chose the pseudonym Vanler Daiseli by poetic inspiration. The moon metaphor in Vanler Daiseli’s poems is nourished by the poems of Valerian Gaprindashvili, G. Tabidze, Terenti Graneli. On January 27, 1925, Vanler Daiseli (Ivane Babuadze) founded the Somnambulist group of modernist poets, whose members were: Shango Polius, Klimenti Tevzadze, David Peradze. In the journal “Literatura da Skhva” (1924-25, #1), Avant-gardists, Georgian futurists linked the theme of the somnambulist with ancient spells and riddles in a new way, applied to Georgian mythology and folklore, through sound and euphony. The paper deals with the poems and miniatures about somnambulists by representatives of the Georgian avant-garde, futurism: Nikoloz Chachava, Tsvar-Nami (David Mebuki), symbolist group “Blue Horns” (Shalva Karmeli), Sandro Tsirekidze. Marinetti is known to have referred to the Symbolists as “the last lovers of the moon”; However, Georgian poetry on the verge of the 20th-21st centuries proves quite the opposite: the moon is still an immortal metaphor: of a poet, an eternal sweetheart, pondering about the homeland (Otar Chiladze, Tamaz Chiladze, Zviad Gamsakhurdia, Ella Gochiashvili). [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Language Academy is the property of Rota Kariyer 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.)

For a deep and comprehensive study of the history of literature of the Kazakh people, it is necessary to take into account the achievements of literatures of other peoples. The article discusses the process of translating the works of foreign writers into the Kazakh language. The distinctive features of this process in the Soviet period and in the period of independence of Kazakhstan have been noted. It is shown how specific work on translation of the works of the world literature into the State language is currently being carried out in Kazakhstan. [ABSTRACT FROM AUTHOR]

The authors featured in this department column share instructional practices that support transformative literacy teaching and disrupt "struggling reader" and "struggling writer" labels. [ABSTRACT FROM AUTHOR]

In this current exploration of technology the authors attempt like to keep Journal readers as current as possible with the rapid expansion--and regulatory caution--of social media in mid-2012. [ABSTRACT FROM AUTHOR]

The author offers observation on the influence of social media to print novels. Topics discussed include reliance of literary text to a reception history, information on textual editing, and impact of digital social media such as Twitter on the boundary between author and reader. It also compares and contrasts a print novel with a digital tweet.

Although the worlds of professors and author-illustrators of children's and young adult literature are closely related, they rarely intersect in practice. In this column, readers are provided with a new perspective that crosses this divide. The authors are both professor of children's and young adult literature, as well as accomplished authors and illustrators or trade books. Their unique vantage point allows the authors to share insights gained from working in these related but separated worlds. Teachers will enjoy the suggestions for classroom instruction and the look 'behind the scenes' that emerges from this intersection. [ABSTRACT FROM AUTHOR]

The problems that appear are related to the way writers perceive the legal foundations of society and how the literature deals with issues of law, power and justice and the writer's responsibility towards his readers. Analyzing the Discourse on the Origin and Basis of Inequality Among Men by Jean-Jacques Rousseau and the Universal Declaration of Human Rights of 1789 we intend to show that literary works can enrich law and justice with. [ABSTRACT FROM AUTHOR]

The author discusses the description by English teachers of the complexity of decision making for publications by authors which will allow readers to understand ideas behind such decisions. She states that advice from intellectually curious and critical thinking colleagues must be sought. The author notes that a sensation of ample time to think must be practiced.

In conventional literary fiction, effective typography recedes. Grey rectangles of justified type are so familiar they are essentially invisible on the page, allowing the reader to slip into the world of the book unimpeded by the activity of reading. This article explores ways some novelists use unconventional typography as a literary device, visually interrupting the reader to make a specific point. A range of typographic devices are shown to effect pace, point of view, tone of voice, characterization and to imply ephemeral documents within novels. These typographic devices are illustrated with examples from a collection of novels including Mark Z. Danielewski's House of Leaves (2000), Salvador Plascencia's The People of Paper (2005), Joanthan Safran Foer's Extremely Loud and Incredibly Close (2005) and Steven Hall's The Raw Shark Texts (2007). The article aims to illustrate ways authors have experimented with typographic devices to literary effect, and to encourage more experimentation with word-image interplay as a storytelling device. [ABSTRACT FROM AUTHOR]

Following an overview of approaches to wit from the 17th to the late 20th centuries, I provide an account that focuses on the process by which witty effects are produced in the reader. I argue that witty effects arise as the result of a failure of interpretation, which forces the reader to pause momentarily and reprocess the utterance in an altered context, and recognize the interpretation intended by the writer. After reviewing three main causes of interpretive failure in relevance-theoretic terms, I contend that a crucial factor in the production of witty effects is the speed at which the reader goes through the process. I suggest applications of this model to considerations of structure and theme in literary texts. [ABSTRACT FROM PUBLISHER]

The article focuses on the notion of openness in the case of Soviet author Andrei Platonov's works. It states that the openness in the work of art depends on the relationship between the intention of the author and the reception by the audience. It discusses the connection between developments in the study of his practice as a writer and reflections on the significance of his texts for readers. It also discusses the publication of his works such as "Dzhan" and "Kotlovan" in various editions.

The article offers information on several tips to improve one's writing, particularly when creating a good title that will capture readers. Topics discussed include the two goals to achieve the titles in order to quickly grab the reader and describe the paper, the paratextual dimension and subtext for a more strategic when creating a title.

The article discusses the study of a narrative interest as cultural negotiation. It explores the specific description of the negotiation, which combines the impact of the text with the activity and the cultural embeddedness of the reader. The author states that a theory of narrative interest must take into account the idea of intrinsically interesting textual properties. He claims that narrative texts can induce narrative interest and can force readers to consider it to be interesting. In addition, the author thinks that narrative interest arises as a result of a continuous mutual adjustment or negotiation between the two domains.

The article focuses on how to join the discussions on young adult literature in the U.S. It mentions that many professionals participate in the discussions to develop the necessary knowledge in advocating young adult literature readership. It suggests that new participants in the discussions require having the knowledge about the literature titles and authors through browsing websites containing the resources on the literature. It discusses the possibilities and problems which can be generated from contacting authors as first step in exploring the young adult literature world. It notes that conversing with fellow readers can pave the way in raising the awareness and opening new innovations regarding the approaches in the literature. INSET: Cool Stuff on Author Websites.

The emergence of interactive digital technologies has begun to affect discursive practices as solid as literature or creative writing. On the one hand, the circulation of commentary of literary works has become massive and even the license of the reader to intervene such texts is now open; on the other hand, the expression modes and base has been enhanced thanks to the creative use of recombination technologies, even if this means that the resulting products cannot be labeled as literary works and should therefore be placed within the realm of that emerging field where works based on digital interactive technology are now being assigned to, the so called net-art. Furthermore, the numbers of producers is also widening, that is, more and more people have the skills to generate new work (even if they are "small works"); and, finally, the modes of production of such works are also widening to include works that manage singularities as well as collaborative and collective work. This article reflects on possible scenarios for such transformations. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters 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 discusses the joy and intellectual benefits of reading. The author points out that reading enables a person to develop acute ideological opinions on literary works as well as understand the significance of books in the society. He relates that intellectuals tend to connect their interests with the society through writing.

The article explores the religious vision in Patrick White's novel "Riders in the Chariot." It has proposed an alternative against the readings from Jewish, Christian, and even secular non-religious perspectives. It is noted that the author brings together a synthetic vision in which three religious traditions are confirmed as complimentary. The author has respected the deep differences beween the traditions while drawing on the analogical commonality, as well as the redemptive value of suffering and the nature of an unfinished atonement within people's lives. It cites that the novel has been read in different religious ways and has received sensitive and illuminating attention to its Jewish mystical thematics.

This is an essay about what teachers come to know as they struggle to name their historically minoritized, non-normatively sexual and sexualized bodies as teachers in a variety of educational contexts. Regardless of one's opinion on the efficacy of "coming out" in the classroom-and the authors ask the readers to kindly consider the possibility that one might "come out" as heterosexual- it is certain that teachers' bodies are sexual and sexualized. Therefore, what the authors ask the readers to consider is not a question of if they name their sexual and sexualized bodies as teachers but rather how they name their sexual and sexualized bodies as teachers. And not naming counts, too. In this essay, the authors commingle their stories of doing the naming of their sexualized teachers' bodies with a collection of scholarly attempts to name sexual bodies in theory. [ABSTRACT FROM AUTHOR]

The author reflects on the notions of a writer in reference to the book "The Rhetoric of Fiction," by Wayne C. Booth. He asserts that writers should give an imaginative intensity to their readers in asking whether the power might allegedly helps them. He argues that the use of intensity breaks the potential of coercion. He also discusses the belief of Booth signifying that the ethical import of fiction matters must employ a mode of narration of fiction.

Since the reader is a necessary actor in the aesthetic experience, one of the starting points of my research is the role of the reader in the comprehension / creation of the literary work of art, based on the proposals of the Reception Theories. In this essay, I include an overview of Roman Ingarden's theoretical approach to the literary work of art, especially focused on the reader's role, together with a dialogue between Ingarden's and Alfonso Reyes' proposals on the aesthetic experience. [ABSTRACT FROM AUTHOR]

By considering a neglected realm of narrative discourse, this article contributes to the communication scholarship on narrative authority. Authors of self-help books face a challenge that demands different methods of cultivating authority. Rather than do so by articulating professional expertise, they construct their authority based on personal narratives of self-transformation. Throughout the self-help genre's history, a particular type of talking cure has been intimately woven with ideas of selfhood. Positive thinking holds that our thoughts produce reality. Narratives about the self then place a tremendous power in and responsibility on the self, just as they deny the influence of social structures. In this study I aim to expose the implicit values of selfhood and storytelling that are occluded by the explicit stories of a free and helping self espoused in self-help and to demonstrate that that occlusion is enacted through the cultivation of narrative authority. [ABSTRACT FROM AUTHOR]

Margaret Meek wrote, ‘If we want to see what lessons have been learned from the texts children read, we have to look for them in what they write’ (1988, p. 38). She acknowledged that when writing, children will ‘draw on the whole of their culture if we let them’ and maintained that, ‘we have to be alert to what comes from books as well as from life’ (p. 38). Readers and writers are indeed ‘intertexts’ as other texts ‘lurk’ inside them shaping meanings, whether they are ‘conscious of this or not’ (Scholes, 1982, p. 145). In this article I examine how the writing of one Grade 5 student was influenced by the literature she read during a multifaceted study that explored elementary students' processes of reading and understanding texts with Radical Change characteristics (Dresang, 1999). The qualitative study was grounded in Radical Change theory, intertextuality and social constructivism. [ABSTRACT FROM AUTHOR]

Discusses the relationship between novelist Miguel de Cervantes and his female readers. Conditions of women in Spain before the nineteenth century; Representation of women in the novel "Don Quijote de la Mancha," by Cervantes; Qualities of female characters in "Don Quijote."

The article examines mass reading habits in postcommunist Russia. As soon as private publishing houses gained a foothold in the market, they almost overturned the structure of book publishing. In the last year a record-breaking seventy-one thousand new titles were published (50-100 percent more than in Soviet times). The magazine publishing system also changed drastically: the stock allocation of fifteen or so "thick" journals (plus one per region) ended. More than half of the translated history books are recreational reading (for instance, on pirates, remarkable women, or adventurers), while in the social sciences, 5-7 percent of the translations are reissues of veteran philosophers and thinkers.

The article reports that the republication of "Order and History" in the "Collected Works" edition offers an apposite opportunity to reread Eric Voegelin's magnum opus, and invites a reappraisal. For a reviewer of "Order and History" who has been familiar with Voegelin's work for more than forty years, yet is not an expert in all of the pertinent fields, it is advisable to control rereading impressions by consulting the secondary studies on Voegelin that have been published in recent years as well as older reviews, and especially the introductions written for the republication of "Order and History" in the "Collected Works" edition.

Copyright of Acta Sociologica (0186-6028) is the property of Instituto de Investigaciones Filosoficas 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.)

Comments that coherence like clarity, is a near universal desideratum for readers. Appreciation of other literary qualities by readers; Consistency of the ideas of coherent texts; Influence the sense of perspicuity on advice about coherence

Relates the author's experience in working with writer Cleanth Brooks. Impression of the author on Cleanth; Family background of Cleanth; Overview of the book "Cleanth Brooks and the Possibilities of Order," edited by Lewis P. Simpson.

The article presents news and notes concerning literature around the world. The African Studies Association (ASA) is pleased to announce the winners of the 2001 Children's Africana Book Award. Each year the ASA presents the award to the authors and illustrators of the best books about Africa written for young children and older readers. The 2001 awards were presented at a ceremony at the Library of Congress in Washington, D.C., in October 2001. The Asian Pacific American Librarians Association (APALA) announced in June 2001 the first Asian Pacific American Award for Literature, given to outstanding works by Asian Pacific American writers and illustrators published between 1998 and 2000. Awards were given on the basis of literary and artistic merit in the categories of adult fiction, adult nonfiction, and children's and young adult books. In two of the categories, the committee named honor books as well. The winner for the book in adult fiction was "Land of Smiles," by T.C. Huo, published in 2000.