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Contemporary Japan has been widely identified as a scene of crisis marked by the breakdown of established sociocultural institutions and the subordination of identity and desire to ever-evolving technocapitalist whims. Japanese-horror (J-horror) media of this period reveals a collective concern with these cultural themes, routinely employing haunted technologies to elaborate the perils and possibilities of existence in a world of incertitude. This article examines Shimizu Takashi's 2004 Marebito with attention to how the film develops a critique of the estranging forces of late capitalism and elaborates an alluring alternative, located in a return to what Derrida describes as the scene of humanity's second trauma: "the Darwinian." In doing so, the article traces how the drive for self-annihilation emerges in Marebito not only as a terrifying prospect but also as an occasion to forge intimate relationships with the repressed of culture. [ABSTRACT FROM AUTHOR]

Despite winning numerous literary awards, Caitlín R. Kiernan's work has received little critical attention. Scholars have focused onKiernan's reworking of H. P. Lovecraft's influential weird fiction and have discussed Kiernan's pioneering work in New Weird fiction and short fiction. As astute as much of the critical work is, none of it addresses the cornerstone of Kiernan's fiction: trauma. This essay considers Kiernan's novel The Red Tree as a queer American gothic novel dealing with trauma and its lingering effects on its witnesses. Through its complex, fragmentary formand its use of dreamsequences and unconsciously produced narratives, the novel invites readers to witness and consume Sarah Crowe's trauma while loosely theorizing the relationship between trauma and queer temporality and spatiality. [ABSTRACT FROM AUTHOR]

The ambivalent attraction of feeling horror might explain someparadoxes regarding the consumption of representations of atrocities committed in the real world, in the past, on actual other people. How do horror fictions work in the transmission or exploitation of historical trauma? How might they function as prosthetic memories, at once disturbing and informative to readers who might otherwise not be exposed to those histories at all? What are the ethical implications of horror elicited by fictional representations of historical suffering? This article engages these questions through the reading of Mo Hayder's 2004 novel The Devil of Nanking. Hayder exploits horror's appeal and also--by foregrounding the acts of representation, reading, and spectatorship that generate this response--opens that process to critique. The novel may productively be understood as a work of posttraumatic fiction, both containing and exposing the concentric layers of our representational engagement with records of past atrocity. Through such a reading, a spherical rather than linear topology emerges for history itself, a structure of haunted and embodied consumption. [ABSTRACT FROM AUTHOR]

This article unpacks the cultural work that Juan Carlos Medina's Insensibles, released in English as Painless, carries out in relation to Spain's modern history and argues that the film's painless children are an allegory of the country's postdictatorship generations. The rendering of fascism as monstrous is less interesting than the connection of insensitivity to the Pacto del Olvido (Pact of Forgetting) and its suppression of painful memory. The fact that the children speak Catalan is a significant overlooked aspect, because Catalonia was the last region to succumb to Nationalist military forces during the Spanish Civil War (1936-39) and is known for its independentist fervor. A regionalist reading of the film does not simply connect the present and the past; it proposes that the children of the war mediate Spain's current troubled relationship with historical trauma and act as an artistic response to centralist ideas of a unified and stable nation-state. Such a rethinking demonstrates that the horror genre continues to offer a language of anxiety capable of negotiating and contributing to debates around the importance of national accountability, war reparations, and the condemnation of genocide. [ABSTRACT FROM AUTHOR]

This article examines Mark Z. Danielewski's House of Leaves (2000), a gothic novel that augments its postmodernist credentials by preemptively imagining and representing the theoretical gaze that would otherwise have been directed on itself. The article suggests that despite the novel's intense performance of self-reflexivity, it demonstrates a traumatic suppression of its own immediate historical conditions, particularly its temporal proximity to the events of the First Gulf War. This article thus reads the text's telling silences and its thematization of uncanny spatial violations as indexing a minimally acknowledged guilt over the war in Iraq. The novel's slippages in self-awareness not only point to an avoidance of its own scotomized history but also foreground the shifting boundaries and dispersed locations of textual self-consciousness. [ABSTRACT FROM AUTHOR]

The article considers depictions of English Queen Anne Boleyn, second wife of King Henry VIII, in historical fiction novels including "The Other Boleyn Girl," by Philippa Gregory; "Wolf Hall," by Hilary Mantel; and "Anne Boleyn: A King’s Obsession," by Alison Weir. Topics considered include Anne's role in bring about the English Reformation, female agency in the late Plantagenet and early Tudor periods, and historical tropes depicting Anne as either a witch or b##ch.

The author discusses scholarship in Renaissance literature. She mentions the impact of New Criticism and postmodernism on literary criticism, her focus on Golden Age Spanish drama, and the expansion of her literary studies away from pure canon and into interdisciplinary research.

The essay analyzes the film, Joe May's Asphalt (1929), with specific attention to the representation of the city in the film, emphasizing the role of urban experience in the 1920s and the psychology of the city. This essay explores the novel and superficial experience of the metropolis in Asphalt and the ways in which it captures modern urban surface culture within its historical and cultural dynamic. The essay ultimately argues that surface matters. The superficiality that pervades in the film can represent modern urban experience, one that is increasingly dominated by visual surfaces. Foregrounding the city and the heroine's urban experiences, this essay discusses the ways in which the film valorizes "surface culture" as opposed to moral "depth." [ABSTRACT FROM AUTHOR]

Drawing on Monster Studies, this paper develops its own syncretic theoretical approach to focus on recent transformations of Beowulf's archetypal plot of the Hero Overcoming the Monster in film discourse, as part of the broad popularity that Beowulf still enjoys in different art forms. Significantly preceded by McTiernan's The 13th Warrior (1999), an attempt to adapt Michael Crichton's literary ambition to make Beowulf's story appealing to modern audiences, the new century opens with a revisionist approach to it in Hartley's No Such Thing (2001), whose heroine empathises with the monster. While crude adaptations such as Lyon's Grendel and McCain's Outlander (2008) still abound, Gunnarson's Beowulf & Grendel (2005) and Zemeckis's Beowulf (2007) enhance the story by focalising it from Grendel's mother's perspective without renouncing its grotesque and sublime elements. Similar elements are likewise present in monster movies which are not ostensibly Beowulf adaptations, such as Ridley Scott's Prometheus (2012), Bayona's A Monster Calls (2016), and del Toro's The Shape of Water (2017), yet whose monster discourse is sustained by ingredients ultimately deriving from the Anglo-Saxon poem: the monster as a tester of moral fibre, the cultural syncretism which gives sociohistorical meaning to the alien entity, and its human kinship. [ABSTRACT FROM AUTHOR]

The article focuses on the consumption of Western popular music within communist countries during the Cold War. Topics include the German Democratic Republic (GDR) and their economic gains from exploiting Western culture, the role of the record company Deutsche Schallplatten, and the popularity of rock, pop, and dance music.

The article discusses the annotations offered by English literary critic George Henry Lewes to the second edition of Charles Knight's "The Comedies, Histories, Tragedies, and Poems of William Shakspere," with particular focus on William Shakespeare's play "Cymbeline." Topics explored include the initial categorization of the play as a tragedy, the marginal comments given by Lewes to the lines and scenes of the play, and the critical attitude demonstrated by Lewes to the play.

The article discusses the origin and historical background of the 1781 tragedy "The Siege of Sinope," by English novelist Frances Brooke. Topics explored include the notable recognition earned by Brooke in the theatrical community of London, England, the supposed connection between Brooke's play and Giuseppe Sarti's opera "Mitridate a Sinope," and brief details about the plot of the play which involves King Pharnaces II of Pontus.

A literary criticism is presented on the 2005 Tanzanian historical novel (and what is referred to as a shadow genre novel) "Desertion," by Abdulrazak Gurnah. The book's depiction of the imperial nature of the British Empire in Africa, including the British protectorate of Zanzibar, is discussed. The portrayal of memory and desire in the novel is also discussed.

The article critiques the novel "Fantasia: An Algerian Cavalcade," by Algerian novelist Assia Djebar, originally published in the French language in 1985. Topics discussed include the way the novel acknowledged both nationalist and Orientalist representation of Algerian women and their engagement in the Algerian War of Independence, the depiction of the post-independence roles of women, and observations on the autobiographical reflections presented by Djebar.

Challenged by attacks on the truth and usefulness of poetry by advocates of the New Science and commerce, neoclassical critics attempted to defend the superiority of poetry to prose. Nonetheless, eighteenth-century writers increasingly acknowledged the theoretical difficulty of distinguishing poetry from prose, noting that the two forms shared many properties. Debate over the differing qualities of poetry and prose occurred along two main frontiers: oratory and the prose epic. The result of this debate was increasing acceptance of the "poetical" qualities of prose genres such as the novel, as well as reevaluation of the belief that poetry possessed a special diction. Artistic prose was increasingly absorbed into the enlarged category of "literature." The "poetic" became a quality abstracted from the medium of a text, becoming instead a quality identified with the mind of the author and the taste of the reader. [ABSTRACT FROM AUTHOR]

An essay is presented that examines 19th-century Spanish imperial representations of the Philippines. Topics include the satirical piece "By telephone," written by Filipino novelist and poet José Rizal in 1889, the alleged poor establishment of literary culture in the Philippine Archipelago, and argument over ambiguous legacy of modernity in cultural production in the country in Spanish and Tagalog language.

The article offers information related to "Love's Labour's Lost" that is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s for a performance at the Inns of Court before Queen Elizabeth I. It reports the novel follows the King of Navarre and his three companions as they attempt to swear off the company of women for three years in order to focus on study and fasting.

Hermynia Zur Mühlen (1883–1951) authored several socialist fairy tales during the Weimar Republic, including the collections Was Peterchens Freunde erzählen (1921), Märchen (1922), and Das Schloss der Wahrheit (1924). In many of her tales, inanimate objects come alive, following an age‐old trope common in folklore and fables. Unlike traditional Märchen, however, Zur Mühlen's texts acutely politicize the magical animation of things. This essay explores the solidarity between humans and nonhumans in the writings of this underrepresented author within the context of contemporaneous neo‐Marxist revaluations of the fairy‐tale genre by Ernst Bloch and Siegfried Kracauer. Drawing especially on their reflections on the capacity of the fairy tale to politically disenchant, the nonhuman objects in Zur Mühlen's tales—both natural and manufactured objects—are read in the context of her aim to mobilize the fairy tale as a tool in the quest to create a more egalitarian society. [ABSTRACT FROM AUTHOR]

It has long been accepted that fairy tales somehow trace their roots in pre‐modern culture and folklore. But we are rather unclear about what would constitute the historical dimension in those tales. Leaving psychological or gender‐oriented methodologies aside, this article takes a fresh look at the fairy tales by the Grimms and examines critically to what extent they contain more or less authentic material connecting them specifically with the Middle Ages and our understanding of that age today. There are many elements in the tales predicated on medieval culture and social‐political conditions, such as kingship, castles, princesses and princes, knights, etc. But then there are also many mysterious and magical creatures and objects that have appealed to audiences young and old, whether they are direct borrowings from the pre‐modern world or not. Some of those, along with many motifs, were obviously directly borrowed from medieval literature. [ABSTRACT FROM AUTHOR]

In the two centuries since their first publication in 1812, the Grimms' Kinder‐ und Hausmärchen have become multi‐faceted prisms for cultural production and memorial processes; in short, they function as sites of memory. Over time, the Kinder‐ und Hausmärchen have generated culturally entangled narratives that demonstrate a palimpsestic intertextuality in their numerous adaptations. This essay argues that these fairy tales have become realized and remediated not only as sites of memory but also as projects of imagination in two twenty‐first‐century museums. The Nibelungenmuseum in Worms (2001) exploits fairy‐tale resonances from German Romanticism to Walt Disney in order to interrogate the role of the Kinder‐ und Hausmärchen in propagating a toxic medievalism that the museum in turn cross‐examines. The Grimmwelt museum in Kassel (2015) re‐historicizes and engages these fairy tales in the context of the Grimms' entire oeuvre. [ABSTRACT FROM AUTHOR]

Hedwig Dohm's 1870 fairy tale "Blumenduft," a tale of a princess who finds fulfillment in work, illustrates the merits of industry alongside the failings of royalty. A century later, East German production company DEFA released Dornröschen (1971), echoing similar discourses through the traditionally feminine craft of spinning. Unlike the Grimm paradigm of passive princesses, diligence in these tales is not associated with marriage or domesticity. Rather, labor is tied to broader social structures, and the conventional nature‐culture binary is divided along class‐based lines. Both narratives evoke the Grimm tradition to suit new sociocultural contexts and showcase female empowerment enacted via "natural" interventions. Through the framework of feminist material ecocriticism, this article examines the connections between nature, women, and the working classes in these tales. A close analysis of these texts reveals the critical and political dimensions of nature and narrative as well as the enduring relevance of German fairy tales. [ABSTRACT FROM AUTHOR]

Through multi-channel rhetoric—verbal, musical, and visual—popular music multiplies decentered rhetorical agency. The Beatles's cultural watershed, Sgt. Pepper's Lonely Hearts Club Band, brilliantly exploits this capacity and arguably exemplifies "genius," conceptualized as an extraordinary confluence of agency channeled both from and to audience and culture. My analysis of Sgt. Pepper's cover art and songs reveals a singular combination of irony, dialogism, reconstitutive rhetoric, and enthymematic/enthymodal elements working to galvanize listeners' agency in ways that exceed the Beatles's designs. This study demonstrates how rhetorical criticism of culturally significant popular music can benefit from close reading attentive to the synergy of lyrics, musical form, visual presentation, and artist–audience relations. [ABSTRACT FROM AUTHOR]

ʿAbd al-Bāqī b. Qāniʿ (d. 351/962) was a traditionist and evaluator of transmitters, one of the founders of the genre of biographical dictionaries devoted to the Companions of the Prophet. Ibn Qāniʿ has not attracted much attention from scholars— only Khalīl Qūtlāy has authored a doctoral dissertation, now published in fifteen volumes, that comprises Ibn Qāniʿ’s Muʿjam al-ṣaḥāba. In this essay I argue that Ibn Qāniʿ and his contemporaries relied on the chains of hadith transmission to extract the names of many Companions. My research also shows that in the eighth/ fourteenth century at least two presently lost biographical collections associated with Ibn Qāniʿ were in circulation: Kitāb al-Wafayāt, a catalogue of death dates of hadith transmitters, and Kitāb al-Tārīkh, an annalistic collection, which included many assessments of transmitter reliability. Ibn Qāniʿ’s unsophisticated methods of hadith criticism, although in line with third/ninth- and early fourth/tenth-century scholarly developments, incurred him some criticism from later hadith scholars. [ABSTRACT FROM AUTHOR]

What can biblical psalms teach us about literary devotion? An unexpected answer to that question is provided by Philip Sidney's The Defence of Poesy (1595), a touchstone of literary criticism in its time and in ours. The argument in this essay unfolds from analysis of a single paragraph, which reveals how Sidney's description of King David's Psalms challenges our regnant categories in the following way: If today religion connotes fidelity or devotion to an external authority, as for many it does, and if literature entails authorial sovereignty and independent creativity (also a widespread assumption), then Sidney's approach deviates by equating divine inspiration with poetic creativity. His celebration of variable voices and personae, in particular, undermines the distinction between fidelity and autonomy by offering the psalmist's voice as a model of transformative self-expression. [ABSTRACT FROM AUTHOR]

Like many exegetes before him, the twelfth-century Cistercian abbot Bernard of Clairvaux regarded the lovers in the Song of Songs as allegorical fictions. Yet these prosopopoeial figures remained of profound commentarial interest to him. Bernard's Sermons on the Song of Songs returns again and again to the literal level of meaning, where text becomes voice and voice becomes fleshly persona. This essay argues that Bernard pursued a distinctive poetics of fictional persons modeled on the dramatic exegesis of Origen of Alexandria as well as on the Song itself. Ultimately, the essay suggests, Bernard's Sermons form an overlooked episode in the literary history of fiction. [ABSTRACT FROM AUTHOR]

This article reads the Proslogion of the medieval theologian Anselm of Canterbury as a drama of seeking and finding God. It guides the reader through a process of rhetorical inventio, with all of its attendant risks, pleasures, and discontents. The text opens a space or gap of desire, speaking in the voice of the soul who seeks anxiously to find (invenire) God but turns up only absence. The ''I'' who speaks and addresses itself to itself and to God learns not to close that gap but to inhabit it, affectively and intellectually, just as the monastic rhetor must, when he directs his inventive activity to God. [ABSTRACT FROM AUTHOR]

The article critiques the play "Trachiniae" by ancient Greek tragedian Sophocles. Topics include a discussion of the site of the tragic wounding of Greek mythological character Deianira in the play, the gendered significance that the wounding's location may possess as speculated by some scholars, and an argument that Sophocles viewed Deianira's liver from the perspective of the audience before the stage.

Based on an approach derived from neoanalysis, oral poetry theory, and intertextuality, this paper argues that the death of Achilles is of particular importance for the Iliad. Numerous structural and thematic similarities reflect and foreshadow elements of the traditional story of the death of Achilles which is thereby incorporated into the Iliad symbolically through two intertwined sets of correspondences. These motif transferences and symbolic correspondences serve to explain several peculiar details of the Homeric narrative and contribute to our interpretation of the poem in the context of the Homeric concept of heroism and to our appreciation of the Iliad 's poetic technique. Through the constant foreshadowing of his death, Achilles achieves the highest glory a Homeric warrior can hope for, dying in battle and earning immortal fame without actually dying, but vanquishing all his enemies. This is part of the Iliad 's strategy to encompass the whole of the Trojan War through analepses as well as prolepses and by making Achilles' triumph over Hector prefigure the fall of Troy. [ABSTRACT FROM AUTHOR]

This article analyses three novels of Colombian contemporary authors: Juan Cárdenas, Margarita García Robayo and Juan Álvarez. Through the analysis of some characteristics of the novels Los estratos, Lo que no aprendí and La ruidosa marcha de los mudos, the article explores the link between what we call representation, in the sense of some recognizable social and historical referents, and what we identify as experimentation, e. g. formal and singular procedures of each novel. We suggest that this tension allows us to think in a different way discourses about those same recognizable referents of Colombian history and contemporary context. [ABSTRACT FROM AUTHOR]

This article delves into the relationship between Carlos Rincon's work and two of his predilect authors: Walter Benjamin and Jorge Luis Borges. To this end, the functions of concepts such as "constellation" and "simulacrum" are analyzed within the frame of Rincon's conceptions about history, writing and academic praxis. Besides the intersections with Benjamin's and Borges's works, the relationship above mentioned is exemplified by reviewing one of the last books Rincón edited: María la de El Paraíso. El juicio televisivo de la novela de Jorge Isaacs: los ecos y el dolor de lo que pudo haber sido y no fue. [ABSTRACT FROM AUTHOR]

The article offers information about the life and work experience of the cultural critic, teacher and cultural manager, Carlos Rincón. It mentions that role of Rincón in Latin American criticism and his vision of the reception of aesthetics and philosophy. It discusses the Rincón's role in modern avant-garde art and literature.

This text was written in response to the death of the prominent Colombian literary critic Carlos Rincón (1937-2018). It analyzes his last two authored-books published in Colombia, Íconos y mitos culturales en la invención de la nación en Colombia (2014) and Avatares de la memoria cultural en Colombia. Formas simbólicas del Estado, museos y canon literario (2015). The analysis is done not on the specific content of both books, but on their sketch, their plan: the text does not review what Rincón said. Instead, it studies how he said what he said. It is suggested that this how allows us to glimpse fragments of the history of a global Colombia from the angle of political aesthetics. [ABSTRACT FROM AUTHOR]

The article presents an interview with the Jorge Mario Múnera who talks about the life and work experience of the cultural critic, teacher and cultural manager, Carlos Rincón. It mentions that role of Rincón in Latin American criticism and his vision of the reception of aesthetics and philosophy. It discusses about the Marco Polo Connection book.

este artículo de reflexión parte de la hipótesis de que los diferentes aportes teóricos de la obra de Carlos Rincón surgen de una preocupación inicial por la lectura. La lectura, en tanto práctica cultural y objeto de teoría literaria, además de permitir un diálogo de muy diversas metodologías, es manifestación de una posicionalidad latinoamericana que no se define de manera esencialista, sino como actitud crítica. [ABSTRACT FROM AUTHOR]

This article offers a historical understanding of the metaphors used by Carlos Rincón in his rol as a critic and editor of the work of Hernando Téllez and Hernando Valencia Goelkel. The volumes published by the Instituto Caro y Cuervo reviewed are: Crítica literaria I 1936-1947 (2016), II 1948-1956 (2017), and III 1957-1967 (2017), by Hernando Téllez, and Crítica literaria Tomo I 1955-1976 (2018), and Tomo II 1977-1997 (2018), by Hernando Valencia Goelkel. The discussion is centered on how and why Rincón presents Téllez and Valencia as pillars of twentieth-century Colombian literary criticism. [ABSTRACT FROM AUTHOR]

This conference is centered on the critical method developed by Carlos Rincón throughout his academic endeavors. At the beginning of his work, metaphor was a trope that generated change in poetics and culture. Later on, constellations of ideas took metaphors to a new and more complex level of connections. They show the way he acknowledges change and the need to renew theory from the perspective of a history of the present in its concrete forms that were also the concrete forms of his own life and displacements. [ABSTRACT FROM AUTHOR]

The article critiques Bram Stoker's 1897 horror novel "Dracula" and Oscar Wilde's 1895 play "The Importance of Being Earnest." Topics discussed include the demonstration of aggression and sexuality between the novel's protagonist, Jonathan Harker, and three female vampires, the childhood traumas of Stoker which may have influenced the creation of this novel, and the observed similarities between the novel and Wilde's play.

The article presents the discussion on Hugo Claus which being one of the most prolifc and versatile Flemish novelists, poets, and playwrights of the twentieth century. Topics include frequent use of ancient literature in the work and sometimes in the form of allusions to Greek myth; having very little scholarly attention to the work by scholars of classical reception in the Anglophone world; and transforming diferent Greek tragedies into modern plays by making changes to the text.

The article critiques the novel "Agosto" by Rubem Fonseca. Topics include a re-elaboration in the novel of the last days of Brazilian President Getúlio Vargas before his suicide in 1954, a discussion of personalism and personification in the work which can be read as both detective and historical fiction, and the metonymies used in the book to portray unsolved political tensions between individualism and the state as well as mythology and historiography.

By tracing an alternative aesthetics of decomposition and fragmentation, this article offers a new understanding of the literary and poetological strategies Knut Hamsun uses to create a disintegrating text cosmos wherein the idea of 'creation out of nothing' (creatio ex nihilo) is one key to artistic originality. The article explores the interdependence of different notions of decline and shows that the image of the (biblical) fall is particularly important to the poetics and aesthetic structure of Hamsun's Hunger (Sult, 1890). Around 1900, ideas of wholeness crumble, a decomposition which is reflected in the well-established philosophical and anthropological experiments of Nietzsche, Bourget and Simmel. Taking some of their aesthetic assumptions as a point of departure, the present paper argues that Hamsun's novel offers an aesthetic variation on the decline of unity-based concepts, ranging from the subject to religious belief as well as to traditional storytelling. [ABSTRACT FROM AUTHOR]

The nineteenth-century American novelist, Herman Melville, is oftentimes viewed as a multi-cultured innovator who possibly anticipated post-modernism. In his epic romance, Mardi, Melville incorporates aspects of Orientalism within a Westernized framework, thereby eroding cultural borders. This article focuses on Arabian Nights as one possible parent text for Mardi on the one hand, and on Melville's naturalization of certain Orientalist concepts in his novel on the other. Furthermore, it explores the question of whether Melville "whitewashes" the Eastern narrative to naturalize the text and thus familiarize Westerners with a foreign culture in the spirit of multi-culturalism, or whether he simply subscribes to the Orientalist stereotypes prevalent in nineteenth-century America. [ABSTRACT FROM AUTHOR]

Несмотря на то, что животные занимают центральное место в фильмах Андрея Тарковского, эта тема не привлекала особого внимания критиков. Существующая критика обращает больше внимания на их аллегорические значения, чем на их статус физических объектов, пойманных в сложные сети технологий, насилия и межвидовых столкновений. В данной статье животные Тарковского рассматриваются не как символические абстракции, а как живые объекты: физически уязвимые существа, служащие интересам человека. По мнению автора этой статьи, хотя Тарковский представляет животных в качестве траурного ностальгического комментария на место человека в современном мире, он противоречит сам себе, поскольку повторяет те же антропо центр ические идеи, которые он пытается критиковать, превращая животных в аллегорию. В то же время внимание Тарковского в фильмах к животным как к животным, то есть к их физическому существованию или их отсутствию, внимание к их взгляду, уязвимости—показывает, как, с одной стороны, зави симость режиссёра от кинематографического инструментария для воспро изведения животных на экране противоречит отрицанию им современных технологий, а с другой стороны, как животное само решает за себя, что значительно сильнее, чем неполноценное, часто насильственное, использование Тарковским этого инструментария. Это кино-сафари, представляющее своего рода монтаж движущихся образов животных Тарковского, рассматривает всевозможные варианты, при которых животные в фильмах режиссера выходят за рамки символизма. [ABSTRACT FROM AUTHOR]

The article focuses on the character of Father Brown, class politics, and the labor movement within the detective fiction series by author G. K. Chesterton between 1910 and 1936, specifically the stories collected in the book "The Incredulity of Father Brown," including "The Resurrection of Father Brown," "The Arrow of Heaven," and "The Ghost of Gideon Wise."

An essay is presented in which the author discusses the influence of Elizabethan literature on authors Virginia Woolf and T. S. Eliot, reprinted from the book "Virginia Woolf: Reading the Renaissance" edited by Sally Greene. Woolf and Eliot's literary critiques, their interest in Elizabethan drama, and the history of modernism in literature are discussed, as well as their nostalgia for the past and their references to medieval politics and culture.

An essay is presented which discusses the interpretation of religious texts, with particular focus given to readers interpreting texts from faiths other than their own. Differing Jewish and Christian conceptions of the biblical book of Genesis are examined, and Jewish, Christian, and Muslim interpretations of rabbinic literature are also explored.