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Literary images, followed by their visual interpretation in diverse film adaptations have effective impact of reinforcing the "knowledge" about certain political ideologies. The cultural representation of fascism and totalitarianism seems to be reductively limited to its repetitive features of definite suppression of freedom and brutal control. Yoko Ogawa's dystopian novel The Memory Police (1994) depicts the state of affairs of a novelist on an unnamed island where inhabitants are subjugated to oppressive regime of the Memory Police enabling the total amnesia of all the objects disappearing from everyday life. My intention is to explore whether Ogawa's literary images challenge or underpin the previously established imagery of existing power structures. Further, I will discuss the notion of anachronism both as motif and (intended) literary approach. This novel is also analyzed through its allegory about the future perspective of the written word in the indifferent and oblivious world. [ABSTRACT FROM AUTHOR]

Based on the Body without Organs proposal, this article analyzes the discovery of sor Juana Inés de la Cruz's Ofrecimientos para el Santo Rosario de quince misterios que se ha de rezar el día de los Dolores de Nuestra Señora la Virgen María, in the Poor Clare nun sor Josefa de Castillo's prayer book. First, the contents of this manuscript, which is a task initiated by Darío Achury, are presented in full. Then, the article reflects on translatio and imitatio as literary practices of epistemological appropriation and redistribution for the consolidation of a project of feminine self-government. [ABSTRACT FROM AUTHOR]

The article focuses on the evolution of ecogothic studies, tracing its emergence from the early 2000s to its current proliferation as a recognized field of literary analysis. It explores the development of ecogothic scholarship, the expanding definition of ecogothic literature, and the potential for further exploration of early American ecogothic works.

The article focuses on the interplay between literature and the visual arts, specifically highlighting the paradoxically literary nature of the panorama, linking it to certain forms of literature. It examines the convergence between the panorama as a spectacle and a literary medium, discussing its relation to descriptive literature and the perceptions of realism it engendered.

This paper proposes to address the various temporalities that Lola Arias's biodramatic project on the Malvinas War (the video installation Veterans, the documentary play Minefield and the film Theater of War) brings into play, in relation to the problems associated with temporality that are specific to the narrative of war in general and the Malvinas War in particular. In the first place, each of the works that make up the project is considered as an update of a power (Paolo Virno). Secondly, both the project as a whole and some of its scenes are approached as devices that allow to display what Didi-Huberman calls the fecundity of anachronism. The objective is to think about the novelty that this project introduces in relation to the anachronism that the combatants, designated at the same time as "war boys" and veterans, embody, and which translates into an image in their heads that, in a way of iteration characteristic of the trauma, is neither forgotten nor changed. [ABSTRACT FROM AUTHOR]

In Ricardo Piglia's Los diarios de Emilio Renzi, there is a multiple negotiation between the autobiographical writing of the three hundred and twenty seven notebooks throughout his life, the work of editing and fictionalizing them in three volumes, the paratexts and the set of stories inserted throughout the narration. This negotiation, which is both a procedure and a compositional effect, entails friction between different times and on two levels. On the one hand, at the enunciative level: the original notebooks; the writing of the book and its publication between 2015 and 2017, and each of the three volumes (Años de formación, Los años felices and Un día en la vida). On the other hand, the level of what is represented: the thematization of the passage of time, certain anachronisms, the temporality of the fictional stories. Thus, differential temporalities are configured in life, the newspaper writing and the fiction that, over the long duration include transtemporal nuclei. From this temporal proliferation, I propose, between the documentary and the fictionalized, what I call the life effect, which suspends both the autobiographical and that assigned to literatura. [ABSTRACT FROM AUTHOR]

The article focuses on disappearances are more suspicious because they seem to be linked to the very character of the writers and their political position. It mentions Guido Seborga and Stefano Terra, are first and foremost poets; they rose to fame through their novels, but once erased from literary stories even their poetry seems not to have existed.

This article revisits the theme of temporality in ancient Greek historiography through the lens of the Byzantine Histories of Laonikos Chalkokondyles, who fastened onto the device of the anachronic, proleptic future in Herodotus and Thucydides to license his apparently anachronistic device of writing in the language and persona of both, eighteen centuries after they wrote. In Laonikos' account, his narrative is part of the future of 'Greek' history anticipated by Herodotus and Thucydides. Laonikos' clever assimilation of Herodotus and Thucydides sheds new light on Thucydides' own reduplication of himself to project an authorial and textual future. This strong, anachronic move has made Thucydides' work assimilable by future readers and also opened up the work to the contingencies of reception, with its potential for anachronism. [ABSTRACT FROM AUTHOR]

This paper considers the role of anachronism in large scale narratives of speculative fiction. Mary Shelley's The Last Man and Olaf Stapledon's Last and First Men signal in their titles an ambition to deal with humankind totally and all inclusively. Both authors look to Hesiod as a model for their projects: the Greek poet's account of successive creations and destructions of humankind at the hands of the gods offers a way of narrating human being as both a local cosmic occurrence that has been and one day will be no longer, and as a life form that has persisted with distinctive orientations and commitments through its various local incarnations. The question of anachronism is thus given maximum scope. Rather than a question about accuracy in the representation of local historical details, anachronism emerges as an interrogation of what we recognize and acknowledge as ourselves in the horizon of deep time. [ABSTRACT FROM AUTHOR]

Critics, from Athenaeus in the second century CE and Eduard Zeller in the nineteenth, to the present day, have been concerned with problems of authenticity and the dating of Plato's work, including the inconsistent internal dramatic dates of the dialogues and other anachronisms within them. This article examines the relationship between the imaginary time of the dialogues and Plato's own context, between the blurring of time and temporal relationships in the dialogues and the arguments that they contain, the construction of anachronistic communities and genealogies within them, through which Plato negotiates his own relationship with Socrates, and the deconstruction and re-negotiation of familial relationships, particularly those between fathers and sons. It uses insights from recent explorations of temporality in queer theory to generate a historicist reading that emphasizes the affective role of time within Plato's writing. It argues that Plato uses the temporal setting of dialogues to underscore themes of their arguments, and that these anachronic settings can be read as an artefact of Plato's own reception of Socrates' life and death, and its context in the turmoil of the Peloponnesian War and the loss and restoration of democracy. [ABSTRACT FROM AUTHOR]

An introduction to the journal is presented discussing several reports delivered at the conference "Anachronism and antiquity: Configuring temporalities in ancient literature and scholarship," which was held at the Florida State University in March 2018.

This essay examines, from a position within Classics, different angles on critiques of historicism and the turn to anachronism in History, Art History, Medieval Studies, and Queer Theory before proposing the idea of 'kairological history', on the model of the artist Paul Chan's 'kairological art'. On this analysis, 'kairological history' engages the critical and creative resources of anachronic thinking alongside tools of historicism (e.g. empiricism, successionism, periodization, alterity) in making choices about 'telling time'. These choices reflect a critical understanding of how temporality shapes the valuation of the past, particularly in relation to a 'classical' past; the negotiation of identity and difference between past and present; and the kinds of communities that history aims to support. The second half of the essay examines two instances of anachronism within the history of anatomy, one from Galen and one from the early twenty-first century. Both cases represent problems that historicism can correct. But the modality of correction, in itself, is anaemic and risks the very teleology that linear history is so often faulted for. The essay therefore explores what gets lost and what gets found when temporality is aligned with linearity, as well as non-linear modes of telling time. [ABSTRACT FROM AUTHOR]

The article examines the use of satire in the book of Isaiah and in the Christian Ministry. Other topics include the elements of satire like satiric vehicle and object of attack, the Horatian and Juvenalian satiric tone, the determination of satiric passages in the book, and why Isaiah's satire has no anachronism.

The potential for an intervention by epigenetics into cultural theory and literary analysis has been a topic of recent inquiry from several directions. However, these approaches sometimes too easily align epigenetics with the Lamarckian 'inheritance of acquired characteristics', which presumes the direct influence of environment on the existence of particular traits across generations. This emphasis on environment in turn looks back to eighteenth- and nineteenth-century racial science that attributed degrees of civilisation or savagery to the combined influence of heredity and climate. By instead tracing epigenetics in the older concept of 'epigenesis' from Romantic biology, we can identify the interpretive role of the organism itself in the expression of inherited traits and in the mediation of environmental stimuli. An epigenetic reading of Jane Eyre identifies how Brontë uses the creative agency of the developing body to challenge the 'genetic' and environmental coordinates of racial anthropology. In so doing, she links imperial violence to domestic tyranny and protests against the injustice of both. [ABSTRACT FROM AUTHOR]

In this article, I analyze the debate between Raimond Gaita and Christopher Hamilton on the rhetorical practices appropriate to achieving lucidity (full attention to moral reality). I concentrate on the deployment of untimely terms (taking "soul" as my central example) as a means by which both Gaita and Hamilton attempt to provoke lucidity in the reader. In the final sections of the article, I use this case study of the moral term "soul" to set out a theoretical model for the process of becoming lucid in order to (partially) defend Gaita's philosophical style against Hamilton's criticisms. At stake is the possibility of other forms of rigor, other forms of clarity, and other forms of cogency than analytic philosophizing typically presumes. [ABSTRACT FROM AUTHOR]

This paper discusses the complexity of female and Arab characters in Arthur Koestler's Thieves in the Night. Through an analysis of three main characters (Dina, Ellen and the Mukhtar of Kfar Tabiyeh) and several minor ones, it shows that the allegation of contemporary reviews, and some works on Arthur Koestler ever since, that the novel is excessively built on stock characters is untenable. In fact, the representation of women and Arabs is both specific and detailed, in addition to the fact that these characters show a clearly detectable line of development, even if their initial presentation might in some cases be reminiscent of Petrarchan or other types. [ABSTRACT FROM AUTHOR]

The Watt Review takes a first-principles approach to how the research and engagement inventive system should be designed for universities in a contemporary setting. Despite raising many important policy issues, the Review misses an opportunity to engage in a discussion about: changing the anachronistic teaching base-funding formula that also funds research; introducing research brokerage and triage services; and changing the engagement culture among academics. Opportunities, currently unquantifiable, are currently being lost through a mechanistic application of intellectual property policies to translation. [ABSTRACT FROM AUTHOR]

The article critiques the film "A Field in England," directed by Ben Wheatley. Particular focus is given to the English Civil War setting of the film. Also mentioned the internal coherence degree of the film, its technologically innovative release method, and anachronisms that escalate supernatural element of the narrative.

Scholars often assume that Salome's inspection of Mary in Protevangelium of James 19-20 involves an intact hymen that proves Mary's sexual virginity. I argue that this is an anachronistic reading; notions ab out hymens and genital examinations to verify virginity were probably not prevalent in the Protevangelium's cultural context. Instead, Salome's examination should be understood to convey that Mary is a virgin not only sexually, but also in a "puerperal" sense, spared from the effects of ordinary childbearing. The text thus anticipates the later concept of Mary's virginity in partu in some ways but not others, while its vision of virginal birth eventually merges with other definitions of virginity in late ancient Christian discourse. [ABSTRACT FROM AUTHOR]

The article reviews the play "Julius Caesar" written by William Shakespeare.

The article focuses on phrase prenes en gre with surprised by medieval manuscripts found in literary and other non-legal texts, appears with a slightly different spelling in a plea roll of the King's Bench. It mentions that medieval chronological sequence of the King's Bench rolls and introductory paragraph states the site of the court, the term and year of the court sitting. It also mentions that French poetry, the latter transported by scribes such as Ricardus Franciscus.

The article presents an essay on Carmina Burana, a manuscript that contains several poems from the twelfth and fourteenth century and scenic cantata composed by Carl Orff and his studies of the Codex Buranus. Topics include research on manuscripts using philology, paleography, and cultural history, work on medieval Germanists, lurilingualism, decline of literacy, and works of Augustinian Canons. Also mentioned is Medieval realism and anachronistic modernism.

The article critiques the Anglo-Saxon play "Hengist, King of Kent," or "The Mayor of Queenborough," by the English Jacobean playwright and poet Thomas Middleton, first performed by the acting company King's Men around 1619-20. Topics discussed include nemp your sexes, a mangled version of the Old English phrase meaning take your daggers. Also mentioned is the phrase epitomizing the opportunities available to dramatists when they represented periods between the Saxon and Norman invasions.

Since the linguistic turn of New Criticism and the advent of reader-response approaches in the previous century, the category of history has come under pressure in biblical interpretation. New developments in general historiography have also emphasised that the past is forever past, and that only constructions of the past remain. These developments bring many to the conclusion that the past offers no assistance in the interpretation process. In my paper I would like to re-emphasise that 'historical consciousness' does not mean an anachronistic clinging to something which no longer exists, but rather refers to the ability to sense the multidimensionality of interpretation, particularly in the case of ancient biblical texts. [ABSTRACT FROM AUTHOR]

The article offers the author's insights on crystalline fiction. The author explores the term used by author Iris Murdoch in 1961, which he considered to be anachronistic in consideration to generic contentions. He states that Murdoch argue on his works that crystalline fiction is not so much being revived compared to the transformation made by postmillennial writers.

The article explores novelist James Joyce's anachronistic approach to the bildungsroman in his book "A Portrait of the Artist as a Young Man." It mentions that throughout the first four chapters of the book, Joyce uses the Catholic sacraments to chart the development of character Stephen Dedalus towards the artist's vocation. It argues that Stephen undergoes either figuratively or literally baptism, reconciliation, and communion before being offered the opportunity to receive holy orders.