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The memory of the Second World War remains a bone of contention between Poland and Ukraine. The countries' mnemonic discourses differ significantly, especially regarding the legacy of the Ukrainian Insurgent Army. Most local children's and young adult authors avoid discussing historical nuances and offer their readers simple narratives about victims and oppressors. Thus, it is remarkable that in the last few years descriptions of the difficult Polish–Ukrainian relations have appeared in fiction written by Anglophone authors. This article considers the representations of the complex Ukrainian–Polish/Polish–Ukrainian dynamics in Amanda McCrina's Traitor (2020) and The Silent Unseen (2022), two young adult novels set in Second World War eastern Poland/western Ukraine. McCrina, an American of Polish descent, introduces teenage protagonists with liminal identities and agency limited by their historical circumstances. This article underscores the importance of McCrina's literary techniques – especially her use of alternation of perspectives – that highlight the complexity of history and challenge the discourse of morality typical of young adult historical fiction. Moreover, it argues that the minor simplifications introduced by McCrina are necessary for Anglophone young readers to grasp the entanglements of the history of what Timothy Snyder termed the 'Bloodlands'. Thus, her approach to addressing multifaceted and problematic topics exceeds morality plots based on the victim–oppressor binary. [ABSTRACT FROM AUTHOR]

How did the rise of cinema affect authorship in Britain? This essay examines the question in relation to both new and established writers. Referring to manuals of authorship and fiction writing as well as to the archives of the Society of Authors, it places the rise of cinema after 1906 in the context of the wider "Americanization" of the British culture industry and illustrates the ways in which cinema drove changes to readerly expectation, advertising, and the marketing of literature. It also examines how the business of writing for the cinema came to be incorporated into the broadly professionalized concept of "authorship." In addition to drawing from the experiences of fiction writers including W. Somerset Maugham, E. Phillips Oppenheim, Elinor Glyn, Arnold Bennet, and Edgar Jepson, it also considers cinema authors, Herbert Langford Reed and Eliot Stannard, who sought to integrate screenwriting with the other disciplines traditionally described by the term authorship, widening our sense of what that category might mean. [ABSTRACT FROM AUTHOR]

The article delves into the intersection of anthropology and literature, emphasizing how recent theoretical work has enriched the dialogue between these fields by exploring themes such as art, religion, subjectivity, and ethics, while also addressing methodological concerns. It highlights a series of conversations between fiction writer Siddratul Muntaha Jillani and anthropologist Kiran Nazir Ahmed, focusing on the parallels and contrasts between fiction writing and ethnographic writing.

An interview with Ali Smith about her latest novel Companion Piece (2022), its relationship to her Seasonal Quartet (2016–2020) and responding to contemporary society through fiction. In particular, Smith discusses how Companion Piece came out of the Seasonal Quartet and discusses writing fiction in relation to its own time and questions of both contemporaneity and history. This conversation also spans both recent and recurrent concerns throughout Smith's writing, including: language and narrative, art in contemporary society, technology and capitalism, environmental crisis, and the COVID-19 pandemic. This interview was held in-person on 24th June 2022 in Trinity College, University of Cambridge and has been edited for clarity and length. [ABSTRACT FROM AUTHOR]

Despite the individualised, empowering, and political nature of early developments in the instruction of creative writing, once creative writing instruction gained traction in higher education in the U.S., especially at the University of Iowa, teaching creative writing became more about the written product than the writing process. That shift made it so that today, the acceptance of a written artifact identifies one as a writer more than the act of writing itself; therefore, many students are now subject to curriculums that generally define them as writers through the completion of written artifacts and not the process of writing creatively. This article details an alternative curriculum, one informed by discussions on the writing process – including moments of inception and methods of creation – and not just the successful production of a written artifact, the very last (and not always necessary) stage of writing creatively. This project accomplishes this task using a lesser popularised history of creative writing, largely detailed in the histories of writing composition, writings from the extracurriculum, and best teaching and assessment practices in composition studies. Students in my open-access curriculum come away with over 30,000 words of creative writing and writing in reflective practice in a single semester. [ABSTRACT FROM AUTHOR]

This study aims to determine the effectiveness of digital technology and learning videos in the process of writing inspirational stories. The research was conducted with the experimental method of preexperimental design (nondesign), namely one group pretest-posttest design (one class only) with the research subject of class IX-A students of SMP Negeri 1 Idanogawo totaling 32 people. The results showed that the percentage of effectiveness of digital technology and learning videos was 80.5% with a decent category and an average score of 76.5. The benefits of digital technology and learning videos include: (1) the emergence of innovative learning methods/strategies, (2) encouraging teachers to be more creative, (3) making it easier to access learning resources, (4) making it easier for teachers to deliver material, (5) making it easier for students to understand the topics discussed, (6) saving time. [ABSTRACT FROM AUTHOR]

Works of fiction play a crucial role in the production of cultural stereotypes. Concerning gender, a widely held presumption is that many such works ascribe agency to men and passivity to women. However, large-scale diachronic analyses of this notion have been lacking. This paper provides an assessment of agency attributions in 87,531 fiction works written between 1850 and 2010. It introduces a syntax-based approach for extracting networks of character interactions. Agency is then formalized as a dyadic property: Does a character primarily serve as an agent acting upon the other character or as recipient acted upon by the other character? Findings indicate that female characters are more likely to be passive in cross-gender relationships than their male counterparts. This difference, the gender agency gap, has declined since the 19th century but persists into the 21st. Male authors are especially likely to attribute less agency to female characters. Moreover, certain kinds of actions, especially physical and villainous ones, have more pronounced gender disparities. [ABSTRACT FROM AUTHOR]

Realism lingered quite long in Turkish literature. From the 1900s onwards, realism and naturalism were prominent movements. If the often-despised detective novels are put aside, there was hardly any room for the extraordinary in fiction. During the socialist realism era, realism almost became the sole movement and was strong until the 1950s. Despite the appearance of the first modern literature from that time on, it kept its prominent position until the 1970s. What realism skillfully pushed outside the literature were the supernatural, the magic, the extraordinary, the mythical, and the fairy-tale-inspired narration. However, these elements made a comeback in the 1980s and quickly spread in the 2000s. Today, almost all fiction comprises these elements, and this time not in the form of the despised "B-literature," but in a very mainstream way. Today, the fantastic, detective novels, historical/biographical fiction and science fiction of all sorts are living their golden age. Often fused with myths, fairy-tales, epics, and such, this new type of fiction is like a scene where the supernatural has made its glorious comeback. In this paper, I will show the different ways and forms of this comeback in two novels: The Stories of Efrasiyab by İhsan Oktay Anar and The Red Haired Woman by Orhan Pamuk. Analyzing these novels based on their approach to the supernatural, I will try to show how myths and reality mix, what type of novel universe they create, and what this new reality stands for in the postmodern times we live in. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Education / Revue Canadienne de l'Éducation is the property of Canadian Society for the Study of Education 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 Index.Comunicación is the property of Index.comunicacion 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 goal of this work is to put forward a pragmatic and translational framework for analysing target texts (TT) and source texts (ST) containing conversational implicatures that lead to pragmatic ambiguity. Ambiguity, sensu lato, is deemed to be related to indeterminacy and vagueness. Nevertheless, in the strict sense, ambiguity is understood as 'more than a single processing instruction for a given utterance'. More specifically, pragmatic ambiguity arises whenever differences in cultural conventions between SL speakers and TL speakers lead to differences in the existence, meaning and salience of implicatures among ST and TT. Using real translation cases selected from a purpose‐built corpus containing fiction written and oral texts, we show which pragmatic ambiguities translators come across, and how translation techniques are used, either to maintain ambiguity or to select one intended processing instruction. [ABSTRACT FROM AUTHOR]

The counterfeit works of Rafael Bolívar Coronado (1884–1924) represent a phenomenon with unusual repercussions on critical reception. This author managed to publish more than twelve volumes with false authorship and content, from "crónicas de Indias" to collections of poetry. This article presents a theoretical approach regarding literary falsification in general and highlights the concepts of lightness and multiplicity to propose an interpretation of the Bolívar Coronado case. This paper also deals with the artistic dimension of literary forgeries as creative works that use the same methods and strategies as fiction writing. The set of falsified works by this author can be interpreted as a conceptual proposal that questions the functioning of the literary field of his time. Likewise, his proposal can also be framed within the cultural criticism that the forgery tradition entails: it questions not only the difficult discernment between the concepts of truth and lies, but also the rigidity of some guardians of cultural institutions and the system of legitimation, awards, and literary reviews. [ABSTRACT FROM AUTHOR]

This paper is interested in the hidden selves that hover silently in the spaces that all human relationships create. It asks how these hidden self-states can find the light of day and suggests that one way is through fictional creative writing. The author shares a piece of fictional writing in which an elusive character—Isobel—appears. This ethereal and fictional manifestation occurs in the context of excruciatingly painful relational experiences in which the narrator describes repetitive and painful struggles for transformation. Speculative attempts to understand the meaning of the fictional material reveal an emerging forward edge and a fledgling sense of agency. But more. It elaborates how the creative writing process offers a different kind of lens through which to locate, elaborate, see, experience and be empathic with our own and, by extension, with our patients' hidden self-states. [ABSTRACT FROM AUTHOR]

R.W. Connell argues that masculinity is not a unitary phenomenon; rather, that masculinities emerge out of situationally specific choices drawn from a 'cultural repertoire' of so-called masculine behaviour that result in a particular 'configuration of practice'. Ben Lerner's novel The Topeka School (2019) calls attention to this process by focussing on the coding of particular speech-acts as masculine in the context of mid-nineties, small-town Kansas; moreover, he contextualises these particular speech-acts as the cultural precursors to the political rise of the alt-right, leading to Trump's presidency. In The Topeka School, then, speech-acts are not simply gendered but shown to have significant political ramifications. In this paper I argue that while Lerner dissects the genealogy of this particular construction of masculinity, he also presents alternative models of gendered speech-acts that subvert what Hélène Cixous calls the libidinal and cultural masculine economy, and that he explicitly links each of these models to the figure of the mother. Lerner thus suggests a gender-inclusive speaking-back against the dominant masculinist order, with the mother acting as a key locus of political dissent, resistance, and change – he suggests, too, what Connell would call a necessary reconfiguration of masculine practice. [ABSTRACT FROM AUTHOR]

Kazuo Ishiguro's penchant for affectless, stilted or robotic narrators, along with his tendency to return across his oeuvre to the same concerns and motifs, has led to a growing critical tendency to identify his writing as (interestingly) uninteresting. His most recent novel Klara and the Sun (2021) (swiftly condemned as boring by many online opiners) seems to address this question head on, by thematising interestingness itself. This article reads Klara and the Sun in light of recent work (by Sianne Ngai and others) which theorises interestingness as one of our contemporary aesthetic categories. Exploring Ishiguro's iterated fictional concerns, in particular via a comparison with Never Let Me Go, it tests out a number of ways in which the uninterestingness of Ishiguro's narratives has been turned to critical account, but argues that Klara and the Sun withstands these critical manoeuvres. Instead, it demonstrates – via engaging with John Frow's formalist work on literary interest – that Klara offers a phenomenological investigation of how fictional interest is made. This account serves as a quiet manifesto for the interest of fiction tout court, and for the interest of Ishiguro's ongoing fictional project. [ABSTRACT FROM AUTHOR]

Writers who live in a common climate are influenced by the social and political climatic conditions of that region in addition to their worldview and personal style. And they create the regional and climatic school. Which of these schools is the South school of fiction writing, which has important place in Iranian fiction literature. Texts, including literary texts in interaction with history carry social meanings and become the presence of different discourses. The influence of political, historical and climatic conditions on the literature of the South, especially from the 1953 coup d'état in Iran decades after the revolution, has created many similarities in terms of content and structure in the works of the great storytellers of this region. In this research, by choosing three works of the southern school, namely the novels "Tangsir" by Sadegh Chubak, "Suvashon" by Simin Daneshvar, and "Ahle Ghareq" by Muniro Ravipour, We have shown how the selected works of this school are influenced by the existing discourses and the social structure that generates these discourses. In their works, compared to the other works of this school, the mentioned authors tried to reconstruct the atmosphere of colonialism and tyranny in a more concrete way and create dominant postcolonial and tyrannical discourses in a historical moment, that is, from the time of the presence of British colonialism at the end of the Qajar era until the 1953 coup d'état and have imposed their dominant discourses on the lexical, syntactic and rhetorical structure of speech. [ABSTRACT FROM AUTHOR]

Management Learning is a centre of scholarship, and thoughtful scholars strive to achieve exemplary publications – those that make a difference to both theory and practice as well as being frequently cited. Adopting the poststructuralist idea that scientific texts are literary constructions, applying this focus to translation and diffusion effects of a noted exemplar, this methodologically focussed article contributes an empirical method accounting for disjunctions in the context of management learning. We conceptualize disjunctions as differences and disconnections inhering in alternative bodies of knowledge produced about organizations and organizational practices. We do this by proposing a methodological tool embracing history for gaining insight from exemplary publication that allows students and investigators to increase the quality of their research papers. The contribution is explained in terms of two descriptive methodological concepts used to collect and analyse data, namely, style and modality. Using Jermier (1985) as an exemplary publication, we describe its context/origins, the use made of its ideas and the disjunctions that have arisen in the context of management learning. These result from the impact of the paper on the thinking of authors, as shown by subsequent networks of citations. The empirical method demonstrates how certain conceptions of narrative fiction have been used in Management and Organization Studies, in the form of emergent problems in the relationships produced connecting writer, reader and subject. [ABSTRACT FROM AUTHOR]

The goal of this work is to put forward a pragmatic and translational framework for analysing target texts (TT) and source texts (ST) containing conversational implicatures that lead to pragmatic ambiguity. Ambiguity, sensu lato, is deemed to be related to indeterminacy and vagueness. Nevertheless, in the strict sense, ambiguity is understood as 'more than a single processing instruction for a given utterance'. More specifically, pragmatic ambiguity arises whenever differences in cultural conventions between SL speakers and TL speakers lead to differences in the existence, meaning and salience of implicatures among ST and TT. Using real translation cases selected from a purpose‐built corpus containing fiction written and oral texts, we show which pragmatic ambiguities translators come across, and how translation techniques are used, either to maintain ambiguity or to select one intended processing instruction. [ABSTRACT FROM AUTHOR]

The paper highlights communicative, ethical, and educational aspects of AI applications for fan fiction writing. This study is the first attempt to analyze opportunities and academic aspects of using AI for fan fiction writing. The article offers a brief overview of research aspects of AI and fan fiction and presents a case study an AI-generated fanfic based on Naruto series. The objective of the work is to study the use of artificial intelligence in the context of fan fiction writing, specifically focusing on how AI technology can assist or enhance the creative process of fan fiction authors. The research questions aim to investigate the implications and opportunities of employing AI in fan fiction writing and education, shedding light on the evolving relationship between technology and creative expression in online communities. While AI technology can offer various benefits and enhancements to the creative process of fan fiction writing, there are also some drawbacks to consider when using AI for this purpose. AI-generated fan fiction may lack the creativity, originality, and emotional depth human authors can bring to their writing. Using AIpowered fan fiction can be a creative and engaging way to assist in learning foreign languages. AIgenerated fan fiction can expose learners to authentic language use, colloquial expressions, and cultural references in a fun and interactive format. Reading fan fiction in the target language can help improve vocabulary, grammar, and comprehension skills. When working with already published fan fiction, some ethical and legal issues arise, such as copyright infringement, plagiarism, and misrepresentation. [ABSTRACT FROM AUTHOR]

"Dickensian Dimensions" makes use of Dickens's manuscript revisions to uncover the extra dimensions of emotional depth and temporal complexity that his sentences acquire in the immediate midst of composition. When the effects of those little changes were offered to a group of serious ordinary readers in the UK, their responses to selected passages from David Copperfield showed how much the tiny revisions could matter emotionally. The second part of the essay considers revised passages from Dickens's next first-person narrator, Esther Summerson of Bleak House. We suggest that Esther's apparently coy evasions can be more sympathetically read as writing problems stemming from her existential situation as a virtual non-person. [ABSTRACT FROM AUTHOR]

The indenture system gave rise to the migration and settlement of Indians--as a substitute for slave labor--in various plantation colonies overseas. The scholarship of the West/colonizers pushed such events of the East/colonies to the fringes. Amitav Ghosh, known for his historical fiction writing, delves deep into the recesses of history and lends voice to the marginalized in the Ibis Trilogy, set in the earlier decades of the 19th century when the Slavery Abolition Act of the British Empire (1833) came into existence. The plantation owners were seeking substitution for the former slaves, and a solution was soon found in the form of girmitiyas (indentured laborers). Krishna Gubili, a descendant of an indentured Indian, also meditates on the plight of the 'coolies' on the plantation sites of the British Empire. Both Ghosh and Gubili critically reflect on the unmapped and unheard Girmitiya Saga. The paper studies Ghosh's Sea of Poppies (2008) and Gubili's Viriah... (2018) to understand the causes behind the migration of the multitude of Indians to unknown lands and their experiences. It also examines the gender dynamics of the migration, the state of the laborers, the experiences of the female, and the 'cultural assimilation.' [ABSTRACT FROM AUTHOR]

Copyright of Djoussour El-maarefa is the property of Association of Arab Universities 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 research sought to discover how readers of crime fiction novels interact with these texts utilizing a co-creative lens. A qualitative online survey was conducted on three popular crime fiction websites and the responses were analyzed using thematic analysis. It was found that, in contrast to prior research, crime fiction novel readers do not simply view crime fiction as a puzzle to be solved. Instead, they place a high degree of importance on the substantive elements of the fiction such as the quality and details of the plot, setting, and the characters constructed by the author. These findings indicate that crime fiction novel authors should note that their readers desire a more general and pleasurable reading experience than was previously thought. [ABSTRACT FROM AUTHOR]

In 1972, designer Emilio Ambasz (b. 1943) organized the symposium "The Universitas Project" at MoMA in New York City. The issue at stake was how the field of design should tackle the possibly irresolvable societal, political, and ecological problems of post-industrial society. Ambasz proposed a new design approach, which he named design as a mode of thought, with the aim of building a new research-education institution for design that could tackle the wicked problems ahead. In order to articulate his proposal, Ambasz turned to the speculative realm: discursive design critique, metaphysical cybernetics, design fiction, and storytelling. By critically engaging with some of the participants' conference presentations, the article first discusses how the concept of the environment was reconfigured by the emerging ecological catastrophe. Then the article discusses ideological responses to the Universitas Project to show how the seemingly different ideological positions between French so-called "radical left" and American "right-wing technocrats" were grounded in the same; all-encompassing uncertainty and a strive for open-endedness. Finally, the article analyses Ambasz's design fiction writing and the speculative nature of the Universitas and thereby identifies the Universitas as a rare moment in the history of design in which design stopped engaging in the status quo and turned towards a speculative future for finding seeds for new beginnings. The article re-visits the Universitas in order to support a presentist argument: that speculation, discursive design critique, and storytelling might not be sufficient methods on their own to tackle the forthcoming accelerating wicked uncertainties that lie ahead. [ABSTRACT FROM AUTHOR]

This article considers the elaboration of time as part of the formal construction that relates writing and politics in Ernaux's work. Beginning with her claim that 'Écrire, c'est créer du temps', particular attention is paid to the role of the future in Ernaux's 'lived time', especially the future as anticipated in the past. Her accounts of the past, in both fiction and autobiographical writing, show how unquestioned expectations about the future serve to direct the course of human lives and sustain different forms of injustice. Assumptions about both class and gender underpin future prospects in childhood, education, love, sex, pregnancy and marriage. Finally, writing itself is conceived by Ernaux predominantly in relation to the future. [ABSTRACT FROM AUTHOR]

New Woman literature is typically regarded as an Anglo-American invention, but this assessment ignores the contributions of global authors who shaped the genre’s rise in the decades before its more familiar Western emergence. This essay demonstrates that in the late nineteenth century, Indian women authors crafted both fictional and nonfictional writings that anticipate, expand, and complicate standard narratives of the New Woman. These understudied texts—by authors like Toru Dutt, Krupa Satthianadhan, Shèvantibāi Nikambé, and Rokeya Sakhawat Hossain—also centrally shaped mainstream Indian feminism while occluding alternative counterstrains. New Woman literature and the wider feminist movement cannot be understood without analyzing these transnational incarnations; indeed, I argue, both had transimperial origins. The works analyzed here reframe early feminism as an international enterprise—one more diverse and global in scope than most existing scholarship recognizes. [ABSTRACT FROM AUTHOR]

Purpose: The purpose of this study is to examine how young people imagine civic futures through speculative fiction writing about artificial intelligence (AI) technologies. The authors argue that young people's speculative fiction writing about AI not only helps make visible the ways they imagine the impacts of emerging technologies and the modes of collective action available for leveraging, resisting or countering them but also the frictions and fissures between the two. Design/methodology/approach: This practitioner research study used data from student artifacts (speculative fiction stories, prewriting and relevant unit work) as well as classroom fieldnotes. The authors used inductive coding to identify emergent patterns in the ways young people wrote about AI and civics, as well as deductive coding using digital civic ecologies framework. Findings: The findings of this study spotlight both the breadth of intractable civic concerns that young people associate with AI, as well as the limitations of the civic frameworks for imagining political interventions to these challenges. Importantly, they also indicate that the process of speculative writing itself can help reconcile this disjuncture by opening space to dwell in, rather than resolve, the tensions between "the speculative" and the "civic." Practical implications: Teachers might use speculative fiction writing and the digital civic ecologies framework to support students in critically examining possible AI futures and effective civic actions within them. Originality/value: Speculative fiction writing offers an avenue for students to analyze the growing civic concerns posed by emerging platform technologies like AI. [ABSTRACT FROM AUTHOR]

The article discusses highlights of the comments delivered by Mariana Pinto dos Santos during a roundtable discussion on Sanjay Seth's book "Beyond Reason: Postcolonial Theory and the Social Sciences" which took place as part of the conference "Music, Art, Science and the Decolonization of History" in Évora, Portugal in May 2023. Topics discussed include art history, relationship of history writing with fiction writing, the idea of autonomy of art, and the object/subject of art history.

This contribution reconsiders the relation between marginalized communities and the hegemonic U.S. American nation through a focus on crisis and an affective perspective on trust. I propose that mutual distrust between the nation and its citizens is a structural affective component of America’s »cultural politics of emotion« (Ahmed 2004) that (re)surfaces particularly in moments of crisis. Against this backdrop, I examine how Black Americans and Asian Americans have expressed their fundamental distrust in the promises of the American nation, and thus challenge, subvert, and even disengage from »cruel optimism« and the fantasy of »the good life« (Berlant 2011).In five case studies – ranging from Nina Simone’s »Mississippi Goddam«, to excerpts from James Baldwin’s and Audre Lorde’s talks and nonfiction, to John Okada’s No-No Boy and Cathy Park Hong’s Minor Feelings – I will show that these expressions not only illustrate how the (un)doing of trust shapes the racialized experiences of living in the affective economy of the United States by delineating the coordinates of belonging in and to the nation, but also how strategic distrust can be used as a form of empowerment and resistance. [ABSTRACT FROM AUTHOR]

Copyright of Recial is the property of Universidad Nacional de Cordoba, Centro de Investigaciones, Facultad de Filosofia y Humanidades 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 Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the essay is to reflect on the way in which over the past decade Houellebecq’s work and Houellebecq public persona have gone through a process of transmedialization. Indeed, his works have expanded beyond the written page in often original ways. At the same time, the author has been the object of transmedia expansions. After describing and commenting upon these two dynamics, in the last part of the essay I will draw a few broader conclusions from the “Houellebecq case” in order to reason about some of the changes that have affected the literary domain in recent years. [ABSTRACT FROM AUTHOR]

This paper identifies a counterforce in contemporary political discourse which challenges academic tendencies toward pessimism and cynicism with a political posture of hopefulness. Locating in the politically active science fiction of Ursula K. Le Guin a similar impulse to this counterforce, this paper argues for using Le Guin's works in the college Rhetoric or English classrooms to model a means to engage with social and political injustice from a position built on hope and not cynicism. Tracking Le Guin's use of metafictional commentary on the process of both reading and writing science fiction, this paper ultimately locates a challenge to our pinched views of human potential and social possibilities in the way of meaningful political change. [ABSTRACT FROM AUTHOR]

In "Coming to Life in the Consulting Room: Toward a New Analytic Sensibility" by Thomas H. Ogden, the author explores the analytic experience from both epistemological and ontological perspectives. Ogden argues that adverse environmental conditions can lead to arrested development and psychopathology, and the aim of psychoanalysis is to re-establish the growing process through vital experiencing in the analytic space. He distinguishes between the epistemological and ontological aspects of analysis, with the former focusing on understanding unconscious phantasy and the latter on the patient's efforts to become more fully themselves. Ogden draws on the ideas of Winnicott and Bion to emphasize the importance of play, dreaming, and reverie in the therapeutic process. He suggests that the analyst should consider analytic writing as a form of fiction and develop their artistic potentials to facilitate growth in the analytic space. While the book offers valuable insights, it is worth noting that the author does not acknowledge the contributions of earlier analysts such as Sándor Ferenczi and Otto Rank, who also emphasized the importance of ontological analysis. [Extracted from the article]

In this article, we think with the ongoing conversations on "embracing digital worlds" through juxtaposing the methodological practices enabled by "digital worlds" with the writings of science fiction. Specifically, we leverage the criticality of a Chinese sci-fi text, Folding Beijing, to shed light on issues of equity and justice in qualitative inquiry. This approach allows us to interrogate, problematize, and trespass the boundaries of the digital worlds as well as the underlying digital infrastructure. We discuss three types of boundaries that shape our use of digital tools/spaces: broadband internet accessibility, the borders of language, and universal design and digital inclusion. [ABSTRACT FROM AUTHOR]

Although Turkish children’s literature in Macedonia starts with poetry, other literary genres like stories, children's plays, lullabies etc. are seen in the following years. However, the writers weren’t very successful in writing novels, despite all their efforts. Tomurcuk is a children’s journal which was published between 1957 and 2004 in Skopje. Although it was published as Sevinç and Tomurcuk for a while, then it came out as a single journal. The content of the journal which was addressed to primary school children consists of stories, comics, poems, essays, crossword puzzles etc. most of which were about the history, manners, customs, traditions and culture of Macedonian Turks. The primary objective for this was to raise awareness in the children on their own culture and their values. Besides its significant place in Macedonia Turkish children’s literature in terms of content, form and diversity of the writers, Tomurcuk also plays an effective and active role in regards to the targeted values to be taught. The main aim of this study is to establish the distinct values found in 33 issues of Tomurcuk Journals published between 1957 and 1990 to evaluate these values form the point of view of children’s literature [ABSTRACT FROM AUTHOR]

This paper analyzes the intermedial discourse in Morrison's novel Beloved. It brings to the fore the cinematic tropes with which Morrison's "politics of affect", to borrow from Massumi's syntagm, is interwoven. Drawing on Müller's concept of intermediality which shows the appropriations of art forms, this paper decodes Morrison's intermedial poetics. To engage with the trauma of history and the "Archive Fever," Morrison resorts to a visual medium, cinema, to weave a hybrid literary discourse that lies at the heart of the postcritical turn in cultural, literary and media studies. Filmic techniques such as "show, don't tell," "freeze framing," "close up," "dissolve," "off-stage" permeate Morrison's text. In Beloved, the infanticide is related through an "off-stage" strategy. Drawing on all these cinematic strategies, Morrison intertwines images, sounds, and words to relate the affective experience of the Sweet Home dwellers. For example, the strategy of one way communication of the cinematic language which leads to a closed communication enables Morrison to frame the marginality of her community. [ABSTRACT FROM AUTHOR]