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This study aims to analyze the symbols used in Najwa Zebian's book of poetry called "The Nectar of Pain" to uncover themes of human's feelings and emotions. The poetess is a Lebanese who wrote her poetry after she was betrayed by her lover. She was in trauma due to her lover's disloyalty. She wrote her poetry to express her feelings of pain, hope, revenge and love. Therefore, her poetry expresses her post-traumatic condition through figures of speech and symbols. This study analyzed symbols through close reading technique. After the analysis, this study shows that the poetess has expressed many themes through the use of symbols. This analysis revealed dominant themes of her poetry are revenge, self-identity, betrayal, hope and hypocrisy and double standards of her lover. Key symbols used are "rose," "heart," "flower," "darkness," "sky," "pearls," "home" and "bird." To address the emotional turmoil reflected in her work, readers could explore therapeutic practices like journaling or poetry workshops that healing through creative expression. [ABSTRACT FROM AUTHOR]

This essay articulates the global irony of Brian De Palma's Sisters (1972), an irony that the film constructs by means of its accumulation of ironic markers. The essay locates these markers in the film's allusions to Hitchcock and in the relationships between the film's narration and its excessive style. It begins by looking at previous attempts to describe the nature of irony on film and goes on to read closely the film's opening sequence, with its references to Alfred Hitchcock's Vertigo (1958) and its presentation of a television-show-within-a-film. A final section reflects upon the author's relationship to the irony of De Palma's films as well as the ideological charge of this irony. [ABSTRACT FROM AUTHOR]

Calixthe Beyala‟s creative works and public comments on her artistic productions and her life in general have enjoyed remarkable attention without any doubt. However, there is a particular aspect of her literary creativity begging for attention. This study, therefore, is set to investigate Beyala‟s religious disposition with a view to establishing the fact that African women do not only reject being restricted to the kitchen but also demonstrate that they should be considered when it comes to the matter of exercising their faith. The two novels selected for this study are Calixthe Beyala‟s Mama a un amant and La petite fille du réverbère. They can be translated as Mama has a Lover and The little girl under the street lamp. Adopting sociological conceptual framework, data are analyzed using the French explication de texte which can be interpreted as the close reading technique or content analysis of a text, verbal or non-verbal. Findings from the study suggest that the new generation of African female writers focuses on an attempt to establish and reconnect womenfolk with their most fundamental human rights through artistic designs and their creative writings. Besides being a means of socialization, religion is a ritualistic act of worship, and it reflects a significant part of a people‟s way of life. The study, however, concludes that there is a need for check and balance between the idea of masculinity and the concept of feminism to curtail the excesses there-in for the progress of human societies. [ABSTRACT FROM AUTHOR]

This article explores the use of songs in fantasy televisual media, considering what types of songs are being sung, where they are placed within the context of the show, and by whom they are being sung. I analyze elements of culture and character that enhance worldbuilding as well as explore the use of repetition through leitmotifs, context, and intertextual references. I focus on songs from The Witcher: Blood Origin, Game of Thrones, and The Witcher. Invoking Petra Zimmerman's concept of the "semantic co-text" (2013), I examine the context of each song, including what occurs before and after the choice for characters to sing, considering what drives them to the point of song and what it adds to their internal story. This, combined with a hermeneutic approach to semiotic analysis, allows for a close reading of the lyric text. Finally, I draw together the analysis through a consideration of the phonaesthetic choices (Fimi 2010) and the performance of each song as an act of "musicking" (Small 1998) to consider them as individual moments as well as connected motifs within the broader fantasy context. Songs in longform fantasy media enrich the fabric of the text and provide audiences textual clues to hook into and return to. Music is integral to cultural practices; therefore, when examining texts which create new fan communities and new fantastic contexts, it is imperative to pursue the elements which support interior authenticity and allow audiences to accept the context and authority of the story being told. [ABSTRACT FROM AUTHOR]

The debate about world literature holds a prominent place in national and comparative literary studies today. However, despite its significance, critics have yet to reach a consensus on how to address its challenges, which include its methodology, the vast volume of texts, uneven circulation, and difficulties of translation. This essay examines the concerns of world literature through the lens of William Godwin's philosophy on history writing. While Godwin's historical perspective has not been widely discussed in relation to world literature, his reflections on history and history writing that resist a comparative approach to universal history engage with similar issues found in the debates on world literature. Delving into Godwin's writings on history, which challenge distant approaches to history and stress the importance of the individual and the particular, this essay argues that Godwin's pursuit of a purposeful and intimate relationship with the past offers important insights for addressing the issues of world literature. In particular, Godwin's emphasis on the purpose of studying history and his affectionate approach toward the temporal "other" provide helpful directions in forming respectful relationships with the geographical and ethnic "other" and their literature. Godwin's pursuit of deep knowledge and friendship with the inspiring past proposes a valuable alternative to seeking systematic incorporation of the other's literature or unthinkingly expanding world literary canon. [ABSTRACT FROM AUTHOR]

This article discusses the idea of distant reading and explores the ways in which it can be conducted in research. It focuses especially on how distant reading can contribute to the study of cultural history, which is often regarded as a domain of close reading. The article argues that distant reading methods can successfully be applied in the analysis of cultural transmission in the past, where it is often essential to combine the study of textual signification with the idea of textuality as material flow. The article draws on an example from press history and especially discusses text reuse detection as a strategy for identifying textual amplification. [ABSTRACT FROM AUTHOR]

What is close reading and what are the steps we take in close reading as a methodological approach? This article explores reading strategies and advocates for a more conscious close reading. Starting by tracing the hermeneutic heritage of close reading, and examining its development from the New Criticism movement onwards, it then describes the fundamental physical and cognitive aspects of reading as a distinct form of analytic attentiveness. Three methodological steps are delineated, discussed, and exemplified through the author's close reading practices. By employing a paratextual lens to the close reading of manuscripts from the Early Modern period, the article demonstrates how theoretically informed readings, such as the paratextual perspective, enhance the reading process and deepen our understanding of historical conditions. [ABSTRACT FROM AUTHOR]

In the publications dedicated to Katherine Mansfield's oeuvre, the traces of the cinematic in her narratives and, in particular, the importance of close-up are duly noted. However, despite the fact that the writer's interest in close-up is earlier than her mature interest in cinema, the discussions do not devote much consideration to the beginnings of the technique visible in Mansfield's early works. The comparative analysis of two stories, i.e., "At 'Lehmann's'" and "The Little Governess," exemplifies, therefore, the development of Mansfield's close-up technique and, most importantly, describes how exactly the writer develops it. The essay points to the traces of this particular cinematic tool in the writer's pre-cinematic period and considers Mansfield's verbal close-ups with a close reading method. The analysis adds to the critical conversations over Mansfield's cinematic interests and their influence on her narrative technique. It demonstrates how the development of close-up enhances what is to become Mansfield's central point, i.e., the subject-object relationship, and how it influences the emotional reception of the character. [ABSTRACT FROM AUTHOR]

Nathaniel Hawthorne's short story "Young Goodman Brown" (1835) combines the ecoGothic horror of the forest with the internal turmoil of Young Goodman Brown's complex and contested perceptions. A range of short stories and novels have been inspired by Hawthorne's tale of Young Goodman Brown's ill-fated adventure, one of which is Stephen King's award-winning "The Man in the Black Suit" (first published in The New Yorker in 1994; collected in King's Everything's Eventual in 2002). This article provides an overview of how the author has used these stories in literature courses to introduce students to literary terminology, close reading, and analysis, as well as specific elements of Hawthorne and larger Gothic tradition. Reading these Hawthorne and King stories together highlights the lasting influence of Hawthorne's "Young Goodman Brown" on the contemporary Gothic tradition, as well as the way these tropes have been negotiated and reimagined through King's work. [ABSTRACT FROM AUTHOR]

In literary criticism, both the context and the content of a given text; speech, graph, image, or picture are essential. It is the totality of these two elements that pave the way for a better understanding of any given text. Hence, since the purpose of every communication or speech act is comprehension, this study examines the stylistic profile of Wole Soyinka and Jean Pliya in The Lion and the Jewel (1964) and La secrétaire particulière (2001) respectively. The study adopts the French ‘explication de texte’ technique as its methodology to carry out a textual analysis of the two selected plays. As a theoretical framework, the study uses Edward Said and Homi Bhabha’s Postcolonial theory which interrogates the effects of the interactions between the centre and the margin with the view to reconstructing the worldview on matters of history, race, identity, and culture. Findings reveal that in resisting colonial domination and imposition, the two African playwrights take advantage of linguistic manipulations in the composition of their literary texts. With the application of transliteration, direct translation, proverbs, figures of speech, allusions, lexical borrowing, and grammatical and phonemic corruption, the writers are able to foreground their intention to postcolonialize and africanize their literary works. [ABSTRACT FROM AUTHOR]

This article explores the relationship between the work-oriented philosophy of Hegel and the paradigm of work in Romanticism, as well as the efforts in twentieth-century French philosophy to move beyond this paradigm. The author focuses on the American modernist poet Wallace Stevens and his poem "The Planet on the Table" as an example of a workless way of thinking that disrupts the Romantic paradigm of work. Stevens presents nature as "waste and welter," emphasizing its unworkability and non-teleological nature. The article argues that Stevens's poetry anticipates philosophical postmodernism and challenges the narrative of divergence between modernism and postmodernism. [Extracted from the article]

Beginning with a full text search for the term 'provincialism' across all entries in the OED Online , this article tracks 'provincialism' through the digitized fiction of the nineteenth century, eavesdropping on the ways in which the term was used in a dataset of references drawn from 165 nineteenth-century novels brought together from the British Library 19th Century Collection and the Hathi Trust Digital Library. The focus is not on a close reading of a small number of novels, a novel subgenre, or iterations of a single novel, but on a close reading of multiple short, references to the term 'provincialism' drawn from a large number of nineteenth-century digitized novels. Attention is concentrated on the textually small, the fleeting yet potent uses of the term deployed by nineteenth-century novelists writing in a mass cultural medium with a local and global reach. The findings offer up a relational and multidimensional picture of the term aggregated from the textually small, as it plays out in relation to class, gender, the city, the four nations of the UK, the British Empire and the wider world. [ABSTRACT FROM AUTHOR]

Scholars of the Old Testament affirm that the book of Joshua through 2nd Kings is collectively called the deuteronomistic history. The literary unit of Joshua 7:1–5 is one the Locus Classicus of Old Testament. Obedience to God's instruction underscores the theological intentionality expressed in this unified segment of Old Testament literature. This ancient Israelite literary exposition exposes inter-alia the misfortune that besets the entire people of Israel as a result of Achan's moral transgression. The consequence of Achan's antisocial behaviour was so contagious that it spread across to the entire populace of Israel as they were humiliated and defeated in a battle by the warriors of Ai. This pericope has been studied in various perspectives by commentators and scholars of the Old Testament; however, a survey of available literature shows that it has not been explored by scholars from the orbit of social contagion liability. Therefore, this article intends to engage the literary unit, employing the lens of social contagion liability. Intradisciplinary and/or interdisciplinary implications: This study engaged the literary unit of Joshua 7:1–5 from the orbit of social contagion liability. It argues that Achan's anti-social behaviour spread to the entire populace of Israel and got them contaminated and exposed to misfortune because it has the characteristics of social contagion liability. The study contributed to Old Testament Exegesis, sociology and social contagion study. [ABSTRACT FROM AUTHOR]

The article explores the concept of Narrative Medicine (NM) and its impact on medical education and practice. NM combines literary analysis and medical ethics to enhance doctor-patient interactions and address dehumanization in healthcare. It involves workshops where medical professionals analyze literary texts to develop diagnostic skills and empathy. NM has influenced the way literature is read and analyzed and has led to the establishment of workshops and programs worldwide. The article also introduces an anthology that offers case studies and practical guidance for NM scholars and practitioners. It emphasizes the significance of integrating art and culture into healthcare initiatives for better patient outcomes. [Extracted from the article]

This article examines the role of sport as mediator between social class and personal merit through the figure of Epeios in Homer's Iliad. Dated around 800 BCE, the poem provides us with the first complete account of an athletic event in Western literature, the Funeral Games for Patroklos (henceforth: the Games). Among the noble warlords competing at the Games is a soldier of obscure background called Epeios who wins in boxing but loses in weight-throwing. His performance initiates a novel discourse on the philosophy of sport, as his athletic prowess is not concomitant with martial distinction. Introduced into the Iliad through sport and not war, Epeios later achieves renown as the carpenter who built the Trojan Horse. Through close readings of all relevant texts, this paper argues that Epeios' mini-epic articulates the Problematik of sport as a criterion for meritocracy by reevaluating the social gap between him and his aristocratic fellow-contestants. At the same time, this analysis explicates how the figure of Epeios foreshadows the change in strategy that will bring forth the fall of Troy. [ABSTRACT FROM AUTHOR]

Must we avoid the subjective and the personal when we stick to the text as close readers? By examining a moment of affective disruption in an advanced seminar, this autoethnographic account suggests that students should engage with their feelings as they develop meaningful readings of cultural texts. [ABSTRACT FROM AUTHOR]

The discipline of literary studies finds itself in a nebulous zone that has been dubbed "postcritique". The term recognises that the age of critique (for forty years the dominant paradigm within "literary theory") is over. Teachers and researchers appear somewhat divided as to how to proceed. This article suggests that the answer lies in a return to "precritique"—not an era in time but a position created by review of the logical misstep that made possible the application of theory to the practice of literary criticism in the first place. [ABSTRACT FROM AUTHOR]

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This paper is an extended analysis of the English translation of Beatrice Alemagna's picture book What is a Child? By extended analysis, I am referring to sustained engagement with the constitutive textual framing and narrative perspective of the picture book. Through this approach, my aim is to draw out the specific antagonisms necessary to its concept of 'child'. The child, for What is a Child?, is never quite a self-evident and isolated identity. Rather, it is (to take just three examples): constituted by a perspective on it, and other to it; other to itself, because of the various contradictions in its pictorial and textual constructions; split between name and being. The understanding of the child that emerges runs counter to Marah Gubar's subtle critique of the child as a contradictory identity, knowable, but only in a piece-meal fashion. My understanding of what Jacqueline Rose calls the 'impossibility' of the child is rooted, instead, in an understanding of it as self-cancelling, unavailable as an in-itself identity shorn of its constitutive others, an identity, I argue, that can be addressed only through an approach that is non-essentialist and narration-focused. [ABSTRACT FROM AUTHOR]

Percival Everett’s Telephone (2021) is a novel published, by deliberate design, in three very different versions. Ostensibly, the author has claimed in interview, this choice was to test the boundaries of authorial authority and to delegate interpretative control to the reader. In this article, I argue that such a stance is disingenuous. Telephone is, instead, a novel that continually withholds information from the reader and that ultimately frustrates close reading techniques. In doing so, the text casts the reader into the mental viewpoint of the terminally ill child in the novel, Sarah, who suffers from the progressive neurological condition Batten disease. The outcome is that Telephone should be read as a novel that pathologizes readerly inattention but that, as a result, passes innovative comment on disability narratives in fiction more broadly. [ABSTRACT FROM AUTHOR]

The Reception Reader is a web tool for studying text reuse in the Early English Books Online (EEBO-TCP) and Eighteenth Century Collections Online (ECCO) data. Users can: 1) explore a visual overview of the reception of a work, or its incoming connections, across time based on shared text segments, 2) interactively survey the details of connected documents, and 3) examine the context of reused text for "close reading". We show examples of how the tool streamlines research and exploration tasks, and discuss the utility and limitations of the user interface along with its current data sources. [ABSTRACT FROM AUTHOR]

The phenomena of Reversed Compound Verbs (RCVs) and Explicator Compound Verbs (ECVs) have attracted a great deal of attention and focus recently by Linguistics and Computational Linguistics, as they are one of the salient features in almost all the South Asian languages. An ECV refers to the sort of constructions wherein the two different verbs i.e., v1 and v2 are sequentially arranged in order to form a meaningful expression. Here v1, which is the main verb of the sentence, is being followed by an auxiliary verb v2, which is later de-lexicalized. On the other hand, an RCV is a type of compound verb formation in south Asian languages that was first noticed by Hook in 1974. An RCV is the reordered structuring of the same Compound Verb (CV), which is found in almost all south Asian languages as a special feature. The present paper is an attempt to examine the formation of both of these types of verbs and analyze their functions in Magahi. One could also find it interesting in investigating what happens to other linguistic properties of Magahi like syntactic, semantic and morphological properties when the structure is rearranged. It will also be interesting if both of these verb forms namely ECVs and RCVs show any sort of resemblance among them in Magahi once formed and how well they are accepted in the society. The present paper is also an attempt at making an aerial survey of Magahi language, which is one of the regional variations of Bihari languages and to figure out if there are any issues or challenges faced while reshuffling, reordering or restructuring CVs. [ABSTRACT FROM AUTHOR]

Modernism and Close Reading, a book of collected essays edited by David James, provides a much-needed reassessment of close reading's history and a projection for its potential future. While close reading has suffered many attacks in the recent reading method debates, the first part of this book shows that close reading had a more complex history than is often portrayed, including multiple manifestations and possible points of origin. The second part of the book then looks at how close reading can be rethought to remain productive in literary studies today. [ABSTRACT FROM AUTHOR]

How do educators talk about trauma with young children? Specifically, how do they address children's secondhand experiences of crimes against humanity? In this article, Cara E. Furman argues that classrooms for young children must witness these experiences. A genre of picture books that Furman terms "eavesdropping texts" offer testimony that both witnesses and invites children's secondhand experiences of crimes against humanity. Here, Furman couples a close reading of the books with literary criticism and trauma theory in order to showcase the nuances of the genre and the pedagogical potential of eavesdropping books for young readers. [ABSTRACT FROM AUTHOR]

The article offers information distant and close reading of genre in award winning LGBTQ middle grades and young adult speculative fiction. Topics include information on future oriented perspective on young adult literature; intersections of racism, ableism, sexism, classism, transphobia, and queerphobia; and information on close reading content.

After providing information about details of the song's historical genesis and an exegetic Explication De Texte we proceed to analyze the lyrics as a modernist, surrealist narrative that is not always easy to make clear sense of, yet best can be understood as a classical structure of dramatic complications and possible catharsis with reference to Per Aage Brandt's work on diegesis and narrative forces and spaces. Brandt's contributions to cognitive narratology provide an extended framework of force dynamics, catastrophe theory and structuralist psychoanalysis – also with considerations of intentionality and imagination as integral parts of intersubjectively experienced story-worlds. Our empirical object of study departs from the original canonical recording song lyrics produced in 1968 on the album Music from Big Pink, where the many consecutive live performances by The Band and other artists remain quite faithful to the original text. To the best of our knowledge, a thorough scholarly analysis of the lyrics of The Weight has not yet been available until we now present our detailed, philological amplification on the details of this piece of art. [ABSTRACT FROM AUTHOR]

The aim of this essay is to analyze what I consider the three methodological pillars of the microhistory practiced by Carlo Ginzburg: the concepts of explication de texte, strangeness and logosformel. The first, one of the essential elements present in the works of Erich Auerbach, is seen here as fundamental to understanding the way in which the Italian historian examines and constructs his narrative. Likewise, I will examine the notion of strangeness, departing from Russian literature, but formulated by Ginzburg through Marcel Proust's filter. In addition, I will reflect on the main and little analyzed inspiration assumed by Ginzburg in his work: the concept of Pathosformel, developed by Aby Warburg and later reelaborated by the author of Storia Notturna through the concept of Logosformel. Without understanding these concepts and how Ginzburg uses them, I believe that full understanding of the whole of his work and his most experimental and radical microanalytical theses is unlikely. [ABSTRACT FROM AUTHOR]

Sociopragmatic and pragmalinguistic features as established by elements of Modality and Polarity usually constitute a crucial part to explication of the language of literary texts. In J.P. Clark's poem, "Streamside Exchange", the special application of transitivity as indicated by lexico-semantic features offers a peculiar reading which yields insightful meanings. At a superficial level of reading, there appears, as many scholars hold, an apparent simplicity of texture or wording. However, at a more informed examination of the poem, there is a display of compelling complexity especially at the levels beyond lexis or wording. The interactive session reflects a structural dichotomy between the interrogative MOOD of the child's statement, which is polar in nature, and the response of the bird which displays a combination of declarative and imperative features. The study is mainly for a clearer understanding of underlying linguistic features in the short conversation between the child and the bird that feature as interlocutors. Moreover, the analysis is also in partial response to previous readings and rendition of the text, particularly the substitution of 'shall' with 'has' in latter versions of the poem which has shown remarkable accounts that appear less objective if reviewed from a purely linguistic approach. [ABSTRACT FROM AUTHOR]

The article presents the author's views on Indigenous-inspired close-reading, prioritizing the perspective of Indigenous authors. It mentions teaching students how to combine close reading and research skills to determine who benefits from the systems as they have been organized. They practice the skills of close reading to find textual evidence to support their analyses of the textbooks and work on crafting arguments to persuade others of their assessments.

The author responds to the comments on his article "Criticism and Truth," which examined the epistemology of close reading and how that core practice of literary critical writing is a distinctive way of knowing. Topics include the reasons for the need for literary humanities, a description of the baseline competence shared by literary study and the rest of the humanities profession, and the author's argument about creativity and its relation to the nature of literature as a medium.

The author comments on the article "Criticism and Truth" by Jonathan Kramnick, which focused on close reading and the truth claims of literary criticism. Topics include a discussion of two-pronged determination of truth such as truth about the text and truth about the world, the author's thought on Kramnick's turn to Hans-Georg Gadamer's book "Truth and Method" to establish creative dimension of literary interpretation, and his argument on epistemology of literary criticism.

This paper reimagines a quintessential literary practice: close reading. The autoethnographic inquiry examines the relationship between a single text and my experience with it as teacher, student, reader and writer: Jennifer Egan's short story "Black Box". In doing so I make a case for the literary as a useful mode for being and teaching in classrooms, and for the literariness of the lives caught up in those classrooms. I examine various properties of the text, including the story's unusual form, the implications of its content and genre, the narrative voice, and the central metaphor of a black box. Reading through these, I consider how the story came to shape my imagination and practice as an English teacher. A final section considers the limitations of such a formalist approach to close reading, exploring how a novel framing of close reading as relational work makes ethical readings (Gallop, 2000) possible. The paper concludes with an analysis of the implications of that approach to reading and advances resonance as a concept of value for English teachers and researchers interested in thinking about the relationship among teachers, students, and texts. [ABSTRACT FROM AUTHOR]

The author shows how theologian and poet Thomas Merton skillfully crafts "still-points" in his writings, giving particular focus on Merton's "Conjectures of a Guilty Bystander." Topics include definition of "still-points," Merton's definition of liturgy, works that focus on Merton's textual art, analysis of Merton's perspective on sacramental understanding and the link between nature and liturgy.

To consider metaphysical claims a priori and devoid of empirical content, is a rather commonplace received opinion. This paper attempts an exploration of a contemporary philosophical heresy: it is possible to test metaphysical claims if they play an indispensable role in producing empirical success, i.e. novel predictions. To do so one, firstly, needs to express the metaphysical claims employed in the logico-mathematical language of a scientific theory, i.e. to explicate them. Secondly, one should have an understanding of what it is to test and to verify or to falsify a metaphysical claim. Finally, one also need to consider the philosophical practice of testing a metaphysical claim. These three aspects are introduced in this paper and they are illustrated by means of the metaphysical concept of common cause and the principle of the common cause. [ABSTRACT FROM AUTHOR]

Palestinian cinematic productions have historically attempted to alter biased perceptions of their identity, experience of dispossession, and struggle for liberation, using films to communicate the harsh realities of Israeli occupation. While preserving a pluralistic and hybrid character, and blending different genres from Third and Second films (experimental, neorealist, and transnational), Palestinian cinema – as examined through a close reading of Tawfik Saleh's 1972 film The Dupes, Hany Abu-Assad's Rana's Wedding from 2002, and Najwa Najjar's 2014 Eyes of a Thief – contests monolithic tropes and representations of Palestinians as either victims or terrorists in Western media and films. Drawing on Edward Said's analysis of representation and its ties to occupation, the goal of this article is to engage with the idea of film narratives as a form of intervention that demystifies racial bias against colonized people, transforms viewers' political consciousness, and devises strategies to keep resistance legitimate and ongoing. [ABSTRACT FROM AUTHOR]

In this article, I argue for the necessity of studying the portrayal of technological infrastructures in popular cinema. Cinema provided a venue within which the potentialities of technological infrastructures could be codified, challenged and (irregularly) absorbed into everyday practice—a process that was especially fraught in postcolonial societies like India. I combine an analysis of the changes in Indian telecommunications policy in the 1990s with close readings of the telephone's portrayal in two South Indian comedy films, Hello Pakkiram (1990) and Money (1993). These films imagined the telephone as a technology which undergirded a "middle-class" ethos which valued financial security above explicit moral commitment, in contrast to the explicit heroism of the "mass films" that shaped an earlier era of South Indian cinema. I conclude by reaffirming the necessity of thinking through mediations of technological infrastructures to gain more nuanced critical purchase on their place in our everyday lives. [ABSTRACT FROM AUTHOR]

T orres is an award-winning director and choreographer who was most recently credited for her work as the associate choreographer on the musical On Your Feet as well as for her creative consultation for disco/hustle in the Donna Summer musical Summer, both of which were choreographed by T rujillo. Consequently, no Broadway production of this Golden Age musical has been permitted to veer from the Robbins original, not until the 2019 Broadway revival by Belgian contemporary dance choreographer Anne T eresa De Keersmaeker. The Robbins Foundation continues to manage all rights to productions of West Side Story and has been heavy-handed in sanctioning very few choreographers as "reproduction choreographers" or "associate choreographers" for this musical. T wo such choreographers include Julie Arenal's contemporary improvisational dance direction in the 1968 hit musical Hair and Kenny Ortega's short-lived Broadway venture Marilyn (1983). [Extracted from the article]

French Canadian poet William Chapman is generally dismissed as second-rate imitator of Lamartine, Hugo or his compatriot Louis Fréchette. Chapman's bitter feud with Fréchette has been – much more than the five collections of verse he published between 1876 and 1912 – his claim to fame. Despite being at odds with his North American contemporaries, Chapman was indefatigable in his pursuit of literary prestige. Chapman's quest for literary honours including the Nobel Prize, while it has thus far attracted the derision of critics, in fact provides context for a deeper understanding of his poetic practice within the shifting philanthropic landscape of the turn of the century. Close readings of two of Chapman's poems, 'À M. Andrew Carnegie' and 'Nobel', alongside contemporary journalistic sources, point to a new understanding of Chapman's considerable body of occasional verse and of Chapman himself as a savvy professional attuned to the developing 'economy of prestige'. [ABSTRACT FROM AUTHOR]

The article discusses pedagogies of closeness as an alternative to close reading. Topics discussed include how close reading curtails critical and humanizing literacy practices, how close reading purposefully invites students' affective responses and experiences into textual discussions, impact of close reading on student achievement and description and illustration on principles of resonant texts and issues associated with pedagogy of closeness.

This paper is an application of Johnathan Culler's Structuralist Poetics from 1975 combined with the language codes of Roland Barthes which he developed in his study of S/Z to the close reading of poetry. Culler's main argument is that there must be another strategy combined with all major approaches in Structuralist thought in that time period. His answer to this problem was to develop a set of strategies or concepts to compensate for the reader in the analysis of literary works. I outline in this essay my approach based on the language codes of Roland Barthes: semantic, symbolic, cultural-referential, actional and hermeneutic. After a brief discussion of my understanding and contextualization of Structuralism today for this particular genre application, I apply the concepts to a reading of the famous William Carlos Williams' poem, "The Red Wheelbarrow" as a test-case application of the concepts. [ABSTRACT FROM AUTHOR]

This study looked at punctuation mark and their relevance in written information although; the objective of the study is to discover the relevance of punctuation mark in subtitle: The Foreign audience example and to re-echo the need to have a well punctuated write-up in literary genres. The study sees language as a system of human communication. The problem of the study sets in from lots of poor and wrongly applied punctuations, as various forms of signs are seen to be used in some of the movies of the entertainment industry -- Nollywood, which in turn, gives rise to wrong interpretation to the foreign audience of that language, and as such, the foreign learner of a particular language, the Igbo example will not enjoy the supposed information. The study adopted the framework of Vinay and Darbelnet principles and strategies as a guide to solving the problem as one of its principles -- equivalence was used to relate the movie wrong punctuated subtitles to their supposed target language. The methodology of explication is equally adopted while the study concludes that punctuation errors are involved with wrong application of punctuation mark to written discourses on where it is not supposed to be since punctuation occurs only in written discourses and not spoken. [ABSTRACT FROM AUTHOR]

This paper examines the interaction between the Auschwitz survivor Filip Müller, the interpreter Otto Stegmann, and the Presiding Judge Hans Hofmeyer during Müller's cross-examination during the Frankfurt Auschwitz Trial. A close reading of testimony, made possible by the audio recordings, allows us to show how Müller's decision to speak German, as opposed to his native Slovak or Czech, led to an interesting dynamic between the participants: Müller's testimony arises out of their interaction and the moments of conflict and collaboration that characterized it. In particular, this essay explores the role of the interpreter in enabling Müller to make his testimony, and shows how translation processes help to shape the way that the testimony is formulated. [ABSTRACT FROM AUTHOR]

The textbook historical account of post-war New Music describes a logical and radical succession from Schoenberg to Webern to the Darmstadt School. Against this narrative of inevitability, I provide a more contingent account of the institutionalization of a particular discourse of New Music in the aftermath of the Second World War in Europe. What is contingent here is not so much why or how certain figures – chiefly Pierre Boulez and René Leibowitz – were important, but the shape and the logic by which this importance was established and maintained. Accordingly, this article first of all provides a summary of just what it meant for Leibowitz's understanding of New Music to be reproduced in an institutional capacity. From here, I undertake close critical reading of Boulez's break with Leibowitz in order to discover what, exactly, Boulez began to do differently to establish a new practice. [ABSTRACT FROM AUTHOR]

This article offers a close reading of Nasser Hussain's 1989 essay on Salman Rushdie's 1983 novel Shame in order to propose some thoughts on the basic problematic guiding Hussain's inquiries into post-colonial law. [ABSTRACT FROM AUTHOR]

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This article contributes to recent discussions of temporality in relation to the concept of "world," and especially, to how thinking "world" with "time" can rejuvenate postcolonial figurations of futurity. The theoretical texts I discuss include Pheng Cheah's What Is a World?, Darieck Scott's Extravagant Abjection, and Dipesh Chakrabarty's Provincializing Europe. I retrieve the distinction in these works between the structural dislocations that "found" human being and decompose linear time, and more properly historical decenterings in which the heterotemporal is an effect of social processes of exploitation and (colonial-capitalist) domination. To honor this distinction, I place recent thinkers into dialogue with Walter Benjamin and Herbert Marcuse, suggesting that a post-poststructuralist reclamation of the latter is particularly overdue. The article culminates in an explication of Zoë Wicomb's David's Story—a work that asks us to live through its form that postcolonial mode of the nonsynchronous with which my argument is concerned. [ABSTRACT FROM AUTHOR]