British Literature

This paper examines how patriarchal control impacts both women and nature in Margaret Atwood's The Testaments in light of Val Plumwood's environmentalism. Plumwood critiques dualistic thinking that privileges masculinity and culture over femininity and nature, outlining five mechanisms of domination-"backgrounding," "radical exclusion," "incorporation," "instrumentalism," and "homogenization"that create a hierarchy of superiority and inferiority. Drawing on this framework, the study investigates how The Testaments portrays the intertwined oppression of women and the environment in the male-dominated society of Gilead, highlighting their shared struggle for survival. The novel not only depicts how dualisms sustain oppression but also reveals moments of resistance and survival that challenge these binaries. By bringing ecological and feminist concerns into dialogue, this paper highlights the interconnectedness of environmental degradation and gendered violence. It ultimately argues for dismantling oppressive dualisms in favor of an alternative worldview based on intrinsic value, mutual respect, and symbiosis between all genders and nature.

Black British literature is the space of representation of the migratory flow. It analyses the effect
of emigration on literary productions. The present study is an investigation on the second
generation of writers with the case of Hanif Kureishi, a writer from the Indian diaspora born in
the United Kingdom, who portrays the conditions of Indian immigrants in England. It seeks to
scrutinize The Buddha of Suburbia (1990) and takes as a starting two different axes based on
the works of Homi Bhabha and John Searle. Consequently, Bhabha’s notion of hybridity serves
as a theoretical tool to reveal Kureishi’s strategy to minimize the border between the native and
the host culture and to resolve diasporic difficulties. John Searle’s illocutionary acts are also
used to analyze the discourse of the hybrid characters as well as the impact of space in the
creation of a new identity.
Keywords: hybridity, identity, migration, post-migration, space.

This study explores the increasing integration of Hindi loanwords into Bengali as spoken in Bangladesh. By employing a descriptive-qualitative approach, the research identifies key lexical borrowings facilitated by shared Indo-Aryan roots and modern cultural exchange. Utilising data from authoritative historical dictionaries alongside contemporary media analysis and interviews, the paper categorises loanwords into original forms and hybrid constructions. The findings highlight that over 10% of modern informal vocabulary in urban Bangladesh originates from Hindi, driven largely by the proliferation of digital streaming, Bollywood cinema, and cross-border communication. This research contributes to the understanding of language contact and the evolving linguistic identity of the younger generation in a globalised South Asian context.

This study investigates Kazuo Ishiguro's creative individuality in character development, with particular focus on his novel A Pale View of Hills. The research aims to explore how Ishiguro constructs female characters through a balance of universality and individuality, and how narrative techniques contribute to the representation of memory, identity, and emotional complexity. A qualitative research approach was employed, and data were collected through library-based research, including close reading of the primary text and analysis of secondary scholarly sources such as journal articles, dissertations, and literary studies. The findings reveal that Ishiguro's characters are deeply rooted in shared social and historical contexts, particularly postwar Japanese and British societies, while simultaneously distinguished by unique psychological depth and personal memory. The study also demonstrates that Ishiguro's narrative style-characterized by elliptical structure, restrained language, and unreliable memory-plays a crucial role in shaping character individuality. In addition, the repeated use of symbolic language, such as the word "pale," reinforces themes of emotional distance, fragmented identity, and the uncertainty of recollection. The analysis of Etsuko, the central female character, shows how personal memory and emotional experience function as key elements in constructing individuality within broader cultural frameworks. Those are explained in this article.

Victorian literature often casts its readers into liminal spaces, where the boundaries between life, art, and imagination ripple like currents along a riverbank. Drawing inspiration from Alfred, Lord Tennyson’s The Lady of Shalott and Charles Kingsley’s The Sands of Dee, this paper explores how motifs of weaving, water, and shadow articulate the tensions between individual experience and societal expectation in nineteenth-century texts. By tracing the metaphorical “loom” of Victorian cultural production, I examine how these narratives craft intersections between gender, labor, environment, and mortality, revealing enduring patterns of engagement that resonate with contemporary readers. This study asks: how do the currents of Victorian literature flow into our present, and in what ways do shadows at the river’s edge illuminate ongoing dialogues between text, context, and self?

The paper examines the political dimensions of Jean Rhys's Wide Sargasso Sea through an analysis of power structures. It focuses on three primary sources of power: personality, property, and organisation. Drawing insights primarily from John Kenneth Galbraith's The Anatomy of Power, the study explores how personality, property, and organisation, shaped by condign, compensatory, and conditioned power, respectively, generate resistance. The paper critically examines these power dynamics to demonstrate their role in shaping social and political hierarchies as portrayed in the socio-political landscape of the novel. It also investigates the systemic oppression faced by Antoinette in the context of colonial rule and her subsequent resistance to this subjugation. It further explores the intersection of gender, class, and colonialism in suppressing women's rights. The study also traces the transition from subjugation to freedom and examines how female characters, in pursuit of liberation, resist and challenge oppressive structures like colonialism, patriarchy, and racial discrimination.

This paper is an investigation how cultural perception could be embedded in language and literature and how this helps different analyses on a same historical event. The article includes the comparison between a work of classical Korean literature, Hanjungnok (한중록), and an English-translated version of it, The Memoirs of Lady Hyekyŏng, translated by Kim-Haboush, and a work of a British novel, The Red Queen, written by Margaret Drabble. The comparison is to explore the language use regarding a perception of family relations and of gender in each version of writing. This paper concludes that authors’ and audience’s language and cultural background would influence on perceiving and analysing literature and its context so that each interpretation could be differentiated, even with the actual historical event.

The aim of this paper is to reveal the artistic effects that theconcepts of eternal youth and immortality have in the novel The Picture of DorianGray by Oscar Wilde from the perspective of their aesthetics. As critical receptionhas been diverse in comprehension and evaluation it becomes obvious that themultifaceted literary work from the end of the nineteenth century is profound inboth its composition and thematic structure.

Book Title (Inventory) Book Title (Identified) Identification Number Author (Surname) Language Location of Publication Printer Date No. of Copies Subject Bookseller ID In primis iij dosan of messe bookes bound and unbound (STC) 16161? (or many Paris editions)

Eco-criticism as a separate branch of study has only been established in the latter decades of the last century but the mutual relationship of man and nature has always been a matter of interest for poets and writers down the ages. The growing environment issues have recently attracted the concerns of scientists and philosophers equally. Literature as a mirror of social environment reflects the interconnectedness of all life forms on earth and natural features. This paper is a keen attempt to investigate the relationship of man and physical environment in the light of eco-critical theories and seeks to establish how English literature has been instrumental in developing interest of people towards the environmental concerns. Select texts from Indian and Britishfiction have been approached for the study and examples have been drawn to establish the role of literature in creating ecological consciousness.

This study explores the relationship between defiance and desire in Oroonoko, placing the work within a postcolonial framework to reveal its revolutionary qualities. Through the portrayal of Oroonoko as a noble yet tragic figure, Aphra Behn exposes the power structures of colonialism while highlighting the complex hopes and struggles of her characters. The analysis focuses on themes of agency, resistance, and identity conflict in a colonized world, suggesting that Behn's narrative extends beyond its historical setting to resonate with modern discussions of racism and imperialism. The paper argues that Oroonoko not only reflects the tensions of its time but also stands as a powerful testament to the resilience of the human spirit in the face of injustice. It examines the interaction between love and betrayal, showing how personal relationships are shaped by broader social and political forces. Oroonoko's tragic fate becomes a sharp critique of the commodification of human life under colonial rule. Attention is also given to Behn's language and narrative style, demonstrating how her stylistic choices deepen both the emotional and political impact of the story. The relationship between Oroonoko and Imoinda illustrates how love can function simultaneously as a form of resistance and a site of power struggle. The study, then considers Behn's role as a female writer within a male-dominated literary tradition, arguing that her perspective enriches postcolonial discussions by foregrounding marginalized voices and challenging dominant narratives of authority and empire.

The last decades have seen a resurgence of fragmentation in British and American works of fiction that deny linearity, coherence and continuity in favour of disruption, gaps and fissures. Authors such as Ali Smith, David Mitchell and David Shields have sought new ways of representing our global, media-saturated contemporary experience, which differ from modernist and postmodernist experimentations from which writers nevertheless draw inspiration. This volume aims to investigate some of the most important contributions to fragmentary literature by British and American writers since the 1990s, with a particular emphasis on texts released in the twenty-first century. Contributors theorise and classify literary fragments, examine the relationship between fragmentation and the Zeitgeist (influenced by globalisation, media saturation and social networks), analyse the mechanics of multimodal and multimedial fictions, and consider the capacity of literary fragmentation to represent personal or collective trauma and to address ethical concerns. Besides the already mentioned authors, the volume makes reference to the works of J.G. Ballard, Julian Barnes, Mark Z. Danielewski, David Markson, Jonathan Safran Foer, David Foster Wallace, Jeanette Winterson and several others.

This introductory chapter surveys the resurgence of fragmentary writing in contemporary British and American literature and situates it within a long genealogy of the fragment, from French moralists and German Romantics through modernism and postmodernism to twenty-first century experimentation. Authors outline how recent fiction embraces incompletion, discontinuity and heterogeneity, yet often departs from earlier models by combining fragmentation with new forms of coherence, multimodality and narrative orchestration. They trace how the fragment has shifted from Romantic ideals of becoming, through modernist expressions of crisis and postmodernist skepticism toward totality, to a contemporary practice shaped by digital culture, accelerated communication and “reality hunger.” The introduction reviews competing taxonomies of fragmentary genres – including braids, bricolage, mosaics, polyphonic novels and multimodal works – and emphasizes the reader’s active role in constructing meaning from gaps and lacunae. Ultimately, the volume argues that twenty-first century writers reinvent the fragment as a flexible aesthetic capable of reflecting vulnerability, plurality and the complexities of modern life.

Ḥannā Diyāb and His Tales focuses on Ḥannā Diyāb, a Christian storyteller from Aleppo who originally narrated some of the world’s most famous stories, among them “Aladdin” and “Ali Baba.” In the late spring of 1709, he told these tales in Paris to the scholar Antoine Galland, who published them in the concluding volumes of his French version of The Thousand and One Nights. Long entirely unknown, Diyāb’s role went underacknowledged in scholarship on the Nights until recently. As a handbook, this volume brings some of the most important published scholarship on Diyāb together with new research, examining the sources of his tales and their reception, his interactions with Galland and Paul Lucas, and his literary environment in early eighteenth-century Aleppo.

Mary Shelley’s Frankenstein (1818) is a cornerstone of Gothic literature. It explores the ethical dilemmas and consequences of creation. Over two centuries later, the novel’s central act, giving life, still continues to inspire adaptations across diverse media, including Yorgos Lanthimos’ surreal film Poor Things (2023), and Tim Burton’s animated film Frankenweenie (2012). These works, while rooted in Shelley’s vision, reinterpret the act of creation to reflect the societal concerns of their respective eras.

Si Hicham Berrada constate que les modes représentatifs de la peinture semblent dénaturer les processus par lesquels ils sont apparus — les couleurs perdent leur splendeur, les figures gagnent en staticité, les paysages s’abîment —, il développe, dans une œuvre multimédia, plusieurs questions : Comment renouer le lien si fragile qui nous unit au monde ? Comment découvrir des pierres plus précieuses, des couleurs plus intenses, un enthousiasme plus puissant ? En vidéaste, il tente sans cesse de faire coïncider la durée avec l’inconditionné, avec le retour du différent, avec l’effondement : « La nature a son propre rythme, les formes qu’elle crée ont besoin de temps pour être faites. Finalement, le temps est peut-être l’une des seules choses sur laquelle l’être humain n’a pas d’action. »

This book traces the origins of using sea journeys to treat mental illness, a practice recommended within the medical community through the nineteenth century. It also explores the profound consequences of such experiences on the health of writers who sought such cures as exemplified in their subsequent works. The use of sea voyages derived from the reception of Hippocratic medical treatises in the early Renaissance period that argued for the benefits of exposure to sea air and salt water for sufferers of depression and nervous disorders. Copestake traces how Western perceptions of the ocean, historically dominated by fear, were impacted by the works of writers, artists, and philosophers who took sea journeys to improve their mental health. Focusing on the Hippocratic medical discourse behind these journeys and the need for the ocean instilled by the mental health concerns of William Cowper, Samuel Taylor Coleridge, Ralph Waldo Emerson, Herman Melville, William James and Virgina Woolf in particular, he illustrates how the work that resulted from their respective associations of health with the ocean and bodies of water saw them each introduce individual modes of "oceanic thinking." The author also explores how these portrayals have positively impacted Western perceptions of the sea and our understanding of mental health up to the present day.

This chapter aims at revisiting the fragmentary evidence for the tragic treatments of the Hippolytus myth, namely Euripides' Hippolytus Veiled (Hippolytos Kalyptomenos) and Sophocles' Phaedra, which could complement and contextualize our knowledge for the extant Hippolytus. According to the learned hypothesis by the great Alexandrian grammarian Aristophanes of Byzantium (second half of the third century bc) prefixed to the text of the preserved Hippolytus, the so-called 'Garland-Bearer' (Hippolytos Stephanēphoros or Stephanias) -so named after the garland that he dedicates to Artemis (l. 73) -this play was the second Hippolytus tragedy written by Euripides and won the first prize in 428 bc. This source goes on to mention that it was a revised version of the first Hippolytus (i.e. Hippolytus Veiled), 'correcting' the improper and reprehensible features of the earlier play. Even if the authority of the latter element is disputed as a statement of anecdotological nature or as a later insertion, as it has been suggested, 1 the ensuing discussion will prove that this reference (regardless of its provenance) is, nonetheless, congruent with the available evidence for Euripides' nonextant Hippolytus. The exploration of the two fragmentarily preserved tragedies could showcase the degree of variation emerging from the recasting of plot-patterns and characterization by the two great dramatists. At the same time, the parallel reassessment of the evidence for these plays could yield insight into the ways in which the mythological material was reshaped and revisited, thus enriching tragic discourse and determining audience-response in each case. All three tragedies treat the so-called 'Potiphar's wife' motif, according to which a married woman enamoured of and rejected by a young man accuses him to her husband of (actual or attempted) rape. 2 This version of the Hippolytus myth is not attested in literature before Sophocles and Euripides; nonetheless, the passage in Aristophanes' Frogs 1051-5 refers to this myth as well-known before tragedy, and a reasonable inference is that it may have already been represented in the sixth-century epic Theseis narrating the wedding of Theseus and Phaedra. 3

Dryden means that Oldham compares with Marcellus for his erudition and defensive spirit as a satirist. A pun develops from the use of the nominal “tongue” signifying both “the English satire” and “the English language”, as Dryden and Oldham are allies in defending and promoting both.  An irony develops from the decorations effected on his corpse by binding his “brows with ivy, and with laurels” and its positioning in the tomb surrounded by “fate and gloomy night”. After all, he is in the middle of beauty and horror. An epitome of authority, power, fame, trust, honour, and prestige arises from the apostrophe alluded to Marcellus, while engendering the sorrow of his untimely death and his destiny to remain alone in the nocturnal darkness. The pathos achieved with these rhetorical devices preserves the solemnity of the poem.

In my graduate seminar on medieval communication, we devote much of the semester to the scholarship on manuscripts, including works by many of the great paleographers and codicologists of the past fifty years. When we eventually turn to print, the contrast with the scholarship on manuscripts is striking. The field of manuscript studies has produced nothing that compares to the powerful synthetic arguments for print culture that one finds in the work of scholars such as Elizabeth Eisenstein, whose thesis we may not fully accept but which nonetheless has given a vital stimulus to studies on print. I cannot think of one book that historicizes manuscript culture in this way. Many essay collections have broad-sounding titles that introduce a series of narrowly focused studies. Michael Johnston and Michael Van Dussen nicely summarize the current situation: "Almost all of the foundational theoretical work…has been done by scholars of print" (11). Technically focused studies, whether on specific features of manuscript production or on individual authors and texts-what they label the "service industry" model of scholarship-are of course essential to moving the field ahead. But we kid ourselves if we think this work, unmediated, amounts to cultural history. The present volume does not completely overturn the status quo, but it comes closer than most do, and just as important, it draws attention to the challenges we face. Its focus is on the later period, 1100 to 1500, which saw "a revolution in the technology of the book" (2). In their introduction, Johnston and Van Dussen propose three theses that may move us closer to a more synthetic understanding of late medieval manuscript culture. First, they argue for the manuscript not only as a product but as a process. To

This paper aims to analyse Caryl Churchill's Owners from a feminist point of view. The play is written mostly under the influence of the second wave feminist movement and thus it explors the key points of the movement. Simone de Beauvoir's ideas on women are paid attention while discussing the play as she is one of the most significant feminists of the time. Churchill draws distinctive female characters in the center of the play and approaches male dominance in a variety of ways. The paper deals with a short history of modern feminism along with focusing specifically on second wave feminism and Simone de Beauvoir. İt also interrogates the socially determined roles of woman and impact of patriarchy in Churchill's Owners. As a result of this, one can comprehend that the playwright sheds light on the problems of women and display them in the play, along with showing the importance of women's financial and emotional independance that were essentail at the era of the play's production.

As they circulate through our lives, we look through objects (to see what they disclose about history, society, nature or culture -above all what they disclose about us), but we only catch a glimpse of things. 1 In the early years of the twenty-first century, Bill Brown established a strand of critical enquiry that has become known as 'Thing Theory'. He suggested that objects access complex ideas that exist beyond visible surfaces. Brown makes a distinction between the material composition of an 'object' and the more complex physical and metaphysical makeup of a 'thing'. The 'thing' encompasses ideas and emotion. The 'thing' carries traces of the past and its creation. The 'thing' can seem animate in a way that an object does not. Perhaps then, by looking through the imaginary objects in texts we might catch a glimpse of their 'things' and make new discoveries about the parameters of their creation. Jennifer Sattaur notices that Brown chooses to use texts from the nineteenth century to introduce this approach to literary criticism. She writes '…the nineteenth century offered a range of literary and cultural engagements of unprecedented richness in the exploration of subject-object relationships, and it is for this reason that Brown's study focuses on the literature and culture of the nineteenth century'. 2 Brown takes the well-read things of Victorian texts, for example, Mrs Gereth's collection of antiques in Henry James's The Spoils

This paper considers Matthew Arnold's Culture and Anarchy alongside William Morris's News from Nowhere through the lens of Bill Brown's Thing  Theory. From the 'things' of Arnold's primarily object-less ideas to the  'things' of Morris's primarily idea-less objects, the author argues that  each writer rejects nineteenth-century commodity culture in order to  imagine establishing new orders of the material and immaterial.

A dramatic dismantling will surely show that Arnold Wesker's early plays represent the most amiable contestation of the New Left and the new conditions with the surprising yet desired success of the Labour. In early post-war years, Britons anachronistically hold the myth of the long Edwardian summer and thus reconnect with peace after the Great Wars. Unfortunately, though, the repressed memories of Wars haunt the writings and the aura of the age. That's why in Wesker's accounts, especially in his early corpus, Wars work double shift reminding us the hopes of the new generation and their disillusionment after the failure of the Labour. With this background in mind, our study tries to enlarge the theme of communist idealism and disappointment contested in Wesker's Chicken Soup with Barley. In this play, an angry young man through and through and a representative playwright of the first wave in post-war British drama, Arnold Wesker poignantly shows how politics works as an imperative upon the private and the personal and it is also the sexual politics that Wesker contests and subverts. These two issues further serve for his handling of ethnicity (Anglo-Jewry), class (proletariat) and gender (binary opposition).

This article examines Zadie Smith's The Wife of Willesden (2021) as a postcolonial adaptation that reimagines Chaucer's "The Wife of Bath's Tale" through the culturally situated voice of its protagonist, Alvita. Drawing on J. L. Austin's (1962) speech-act theory, the study treats Alvita's language as performative action rather than purely communication. To contextualise the cultural and political significance of these acts, the article integrates postcolonial and diaspora theories, particularly Homi K. Bhabha's (1994) concept of the "hybrid identity", Stuart Hall's (1990) notion of identity as "becoming", and Avtar Brah's (1996) framework of "diaspora space". Through this interdisciplinary approach, the study shows how Alvita's performative speech negotiates hybrid identity, challenges normative constructions of gender and race, and intervenes in broader negotiations of belonging within a multicultural London setting. The article argues that Smith's The Wife of Willesden uses performative language not only to characterise Alvita but also to enact a counter-discursive practice that disrupts Eurocentric literary traditions and reconfigures who is authorised to speak within them. Ultimately, the analysis demonstrates how The Wife of Willesden generates new cultural meanings and opens alternative modes of reinterpreting classical texts in a postcolonial context.

English literature is very rich and vast. English has become a global language still some other languages have their own richness and importance and literature is not confined to some languages. In this modern era of globalization translation studies play a crucial role in facilitating readers. Translation studies enable the readers to connect themselves with the culture of other countries. It promotes the knowledge, ideas and information of one nation to the global world. Through translation one literary work spreads to the whole world and works as interconnecting the world. Translation plays an integral role in sharing the artistic, scientific, technological and medical knowledge. It provides the knowledge in the native language

In the last decades, mobility, migration, and nomadism seem to draw the attention of a significant number of prominent scholars. While Tim Cresswell imagines "the nomad" (1997, 360) in relation to mobility and the post-modern primitive, Ada Ingrid Engebrigtsen declares the nomad as the "key figure of mobility" (2017, 42). In his foundational work Mobility: A Cultural Manifesto, Stephen Greenblatt observes that "[t]he reality, for most of the past as once again for the present, is more about nomads than natives" (2009, 6). And Gilles Deleuze and Félix Guattari, in their book Nomadology: The War Machine (1986), claim that "[t]he nomad is not at all the same as the migrant; for the migrant goes principally from one point to another […], the nomad only goes from one point to another as a consequence and as a factual necessity" (1986, 50). The nomad, they add, is "a vector of deterritorialization" (53): nomads "[have] no history; they only have a geography" (73). To Greenblatt's and Deleuze and Guattari's diverse perspectives on nomads and migrants, I add that both the experience of nomadism and migration involves not merely mobility (as a new cultural paradigm) in a literal and metaphorical sense (Sheller and Urry 2006, 207-226; see also Merriman and Pearce 2017, 493-508), but more importantly metamorphosis at the individual, cultural, and political level (Urry 2007, 185-290). Indeed, metamorphosis is a direct outcome of movement(s) across borders, integral to the age of global mobility, which may result in dislocation and displacement for the less fortunate. Referring to "mobility" (2006, 2) involving "displacement," Cresswell convincingly alludes to the convergence of movement, travel, and nomadism, which takes central stage in this article (see also Cresswell 2010). According to him, in social theory, "movement is coded as travel, nomadism, routes, or lines of flight" (2006, 2; original emphasis). Considering Cresswell's research, I aim to demonstrate how nomadism in refugee narratives translates into current movements of 'other travellers,' namely 'the less privileged, the less welcome ones' on a global scale. Keeping in view the nomadic and migrant trajectories in cultural and literary discourse, I set out to examine the representation of refugees in Helon Habila's Travellers (2019) and Mohsin Hamid's Exit West (2017) as literature of mobility, both of which particularly mirror new directions and developments in the genre of 21 st -century refugee novels. My contention is that these novels portray refugees as the new nomads, as opposed to the image of nomads in the last centuries, viz. of colonial, imperial, economic, climate, or recreational nomads, most of whom were nomads by choice. The new nomad, as opposed to a regular traveller, is defined as a person whose life is constantly

AbstractThis paper focuses on the importance of schema and context in the interpretation of literary texts and its impact on reader and character identity. The understanding of literary texts is aided and enhanced when a reader is able to create a text world in their mind. A reader's comprehension of a text is partly dependent on their background knowledge, which forms their already existing schema. The reader's existing schema may be supported, challenged, or disrupted in a literary text, which may lead to the creation of new schema and a new reader identity. The newly created schema that might be similar to or different from the reader's existing schema makes a text world for them, helping them in textual comprehension and an analysis of their self. This paper examines the first three chapters from Alice's Adventures in the Wonderland by Lewis Carroll in the light of these notions. Carroll has been able to create a non-sense text world by manipulating the semantic ...

range of talented scholars mostly working in Spain, is bound to be of interest to scholars specialising in narrative. Her introduction deftly sketches the history of the growing critical awareness of the short story as a genre. She shows how, after Poe's ground-breaking essays, later theorists have resorted to making a vast range of comparisons, such as, for example, photographs, riddles and enigmas, while noting recurrent features, such as transcendental moments, epiphanies, stories with no story line. However, in doing so, she is hardly breaking new theoretical ground.

The play Fen was written after Top Girls, considered Caryl Churchill's most famous feminist play, and it thematically complements it. While in the earlier play Churchill portrays women at the top of the social hierarchy, in this drama she focuses exclusively on women who occupy the very bottom of society. This is a play about women who attract the attention neither of feminists nor of the so-called New Left, whose movement was conceived to disqualify the original Marxist Left, and who are left solely to their own efforts to survive each day. In order to depict the empty and difficult lives of these women, stuck in the marshlands of eastern England, Churchill combines numerous theatrical techniques whose diversity makes this play unique. Thus, to her usual strategies of epic theatre the author adds techniques of experimental theatre, as well as new documentary methods refined during her collaboration with the theatre troupe Joint Stock Company. Brechtian typology and the alienation effect are only some of the techniques through which the author succeeds in historicizing the phenomena she addresses and in pointing out to audiences the continuous abuse of power and the subjugation of the broad masses by capitalist tyrants. At the same time, her insistence on emotional engagement and empathy suggests that only the conjunction of emotion and understanding can lead to the long-desired revolutionary transformation in Western society. In addition to a critique of capitalism and of the entire Western ideology of power and exploitation, Churchill in this play also alludes to the limitations and shortcomings of liberal feminism, which she essentially interprets as an ideological subcategory of the patriarchal-capitalist system.

Die Stadt São Paulo war während der NS-Zeit für viele jüdische Intellektuelle ein wichtiger Zielort. 1 Auch die Familie Schwarz kam 1939 nach São Paulo, als Roberto nur wenige Monate alt war. Schwarz beschreibt seine Eltern als "Juden, linke Atheisten, Ex-Kommunisten und Wiener", 2 die nach dem "Anschluss" Österreichs emigrieren mussten. Man flüchtete mit dem, was in den Koffer passtees war eine totale Enteignung. Dann begann das Herumirren durch Europa auf der Suche nach einem Einreisevisum für gleich welches Land der Welt. Es war sehr schwierig, ein Visum zu bekommen, besonders für die bekannteren Länder. Um etwa nach England einzureisen, benötigte man eine Summe auf einem englischen Bankkonto, die ausreichte, um zwei Jahre ohne Arbeit leben zu können. Für die Einreise in die Vereinigten Staaten musste sich ein amerikanischer Staatsbürger zwei Jahre lang für einen verbürgenall das war kaum zu erlangen. Wir nun schafften es, ob gut oder schlecht, in Budapest ein Visum für Paraguay zu bekommen. Eine wohlmeinende und voreingenommene Seele warnte uns gleich darauf, dorthin zu gehen, denn das sei das Ende der Weltund dass wir, selbst ohne Papiere, in Brasilien bleiben sollten. Und das machten wir. Wir gingen in Santos von Bord und blieben im Land. Da zu dieser Zeit Getúlio Vargas mit den Achsenmächten liebäugelte, war es schwierig, sich undokumentiert in São Paulo aufzuhalten, wegen der Polizei. Deshalb mussten wir ins Landesinnere, nach  So schrieb zum Beispiel der Literaturwissenschaftler Erich Auerbach, der selbst ins Exil nach Istanbul gehen musste, 1935 in einem Brief an Walter Benjamin: "Ich hatte einmal vor mindestens einem Jahr, als ein Professor für São Paulo gesucht wurde, um dort deutsche Literatur zu lehren, an Sie gedacht, Ihre damalige (dänische) Adresse durch die Frankfurter Zeitung erfahren und den maßgebenden Instanzen mitgeteiltaber es wurde nichts aus der Sache [...]". Barck, Karlheinz.

Resumo: A literatura produzida na Irlanda foi e continua sendo até os dias de hoje um grande marco na história do país. A importância das obras literárias irlandesas e sua tradição ultrapassam o reconhecimento nacional, estendendo-se por todo continente europeu e firmando-se como parte fundamental de toda literatura produzida na Europa. A contribuição exercida pela literatura irlandesa no cenário mundial é, desproporcionalmente, maior que o espaço geográfico ocupado pelo próprio país, uma pequena ilha da Europa. Sua diversidade e importância têm, ao longo dos tempos, interessado estudiosos de todas as partes do mundo. Este artigo tem como objetivo apresentar um breve panorama da literatura irlandesa em algumas de suas fases de acordo com seus respectivos períodos históricos e proporcionar o acesso à história dessa literatura no idioma português, visto que a maior parte das fontes de informação para esse objeto de estudo encontram-se escritas inglês.

2003 yilinda baslayan ve 2011 yilina dek suren ve etkileri hala devam eden Irak savasindan sonra, devletin ust kademelerinde bulunmus olan Sir John Anthony Chilcot tarafindan 2009-2016 yillari arasinda Irak Sorusturmasi olarak da bilinen Chilcot Raporu adi altinda genis bir arastirma yurutulmustur. Bu rapor Birlesik Kralligin Irak savasinda yer almasinin sebeplerini ve sonuclarini, savasin gercek ve aci yuzunu, ayrica hukumetin bu kararinin bircok farkli yonunu ortaya cikarmaktir. Ote taraftan unlu Ingiliz oyun yazari David Hare Stuff Happens adli bir oyun yazarak bu tarihi olayi odaga alir, bu savas ile ilgili onemli ancak cok bilinmeyen noktalara isaret eder ve Ingiltere ile Amerika’yi elestirir. Bu acidan, Chilcot Raporu savasin degerlendirildigi kurgusal olmayan yazin turu olarak ele alinabilecek iken Stuff Happens kurgusal bir eser olarak nitelendirilebilir. Bu makalenin amaci bu iki metni tarihselci bir bakis acisi ile ele alarak Yeni Tarihselcilik kuramini ortaya atan Stephen...

The importance of an interdisciplinary perspective is demonstrated by way of a reading of the film The English Patient [Dir. Anthony Minghella, 1996]. The film is born in literature as it is based on a novel by the brilliant Michael Ondaatje. It is historical [Herodotus to World War II]; while demanding knowledge of 'Middle-Eastern' geographies; involves a sociology of race and gender relations; while being cinematographically philosophical and deeply poetic. What my paper "does" with The English Patient is to stress that without an interdisciplinary perspective the film is devoid of deeper meanings on several levels. Specifically, I address some of these meanings with extensive reference to two vital interdisciplinary concepts key to the film: 'reversibility' and 'the other'. 'Reversibility' (the notion that all empires eventually fall or that all systems contain the means and mechanisms of their eventual undoing), and 'the other' (a concept of no mean import in a broad range of studies today) focuses on the positive outcome of the fact that we are all other to each other. I conclude that those who lament the disappearance of poetry in our time would do well to look for it, through interdisciplinary lenses, in contemporary cinema such as The English Patient.

This project will build on imaging technology pioneered with medieval parchment palimpsests to create a digital image archive and online scholarly edition of the Nyangwe field diary (1871) of the celebrated Victorian explorer David Livingstone. Although in a fragile, nearly illegible state, the paper diary is of immense historical value because it details the circumstances leading up to Livingstone's famous meeting with Henry Stanley in November 1871, and because it records Livingstone's response to a massacre of the local African population by Arab slave traders' an event that would become a rallying point for late-Victorian abolitionists. Our project will seek to develop technology for the preservation of the diary and recovery of its faded text, and create a model for scholar-scientist collaboration. Our work will make Livingstone's diary accessible to scholars and non-specialists worldwide and produce a template for the display of similar records of Victorian tra...

УДК 821.111 А. А. М а т і й ч а к Чернівецький національний університет імені Юрія Федьковича Рецептивні зсуви та ненадійний оповідач в романі Сари Уотерс «Маленький незнайомець» Матійчак А. А. Рецептивні зсуви та ненадійний оповідач в романі Сари Уотерс "Маленький незнайомець". Статтю присвячено дослідженню фігури ненадійного наратора в романі Сари Уотерс "Маленький незнайомець". Концепція ненадійності нарації розглядається в ракурсі рецептивної теорії з урахуванням жанрологічних аспектів. Простежується зв'язок ненадійної нарації з елементами і традиціями різних жанрів. Амбівалентність читацької реакції засвідчує рецептивний зсув на користь наративної ненадійності як метафікціонального прийому, що дозволяє поєднувати застосування риторичного та когнітивно-конструктивістського методів в дослідженні аналізованого твору. Ключові слова: Сара Уотерс, наративна стратегія, ненадійний наратор, рецептивний зсув. Матийчак А. А. Рецептивные сдвиги и ненадежный рассказчик в романе Сары Уотерс "Маленький незнакомец". Статья посвящена исследованию фигуры ненадежного рассказчика в романе Сары Уотерс "Маленький незнакомец". Концепция ненадежности наррации рассматривается в ракурсе рецептивной теории с учетом жанрологических аспектов. Прослеживается связь ненадежной наррации с элементами и традициями разных жанров. Амбивалентность читательской реакции свидетельствует о рецептивном сдвиге в пользу нарративной ненадежности как метафикционального приема, что позволяет сочетать применение риторического и когнитивно-конструктивистского методов в исследовании рассматриваемого произведения. Ключевые слова: Сара Уотерс, нарративная стратегия, ненадежный рассказчик, рецептивный сдвиг. Matiychak A. A. Receptive shifts and unreliable narrator in the novel "The Little Stranger" by Sarah Waters. The article investigates the figure of unreliable narrator in the novel "The Little Stranger" by Sarah Waters. The concept of unreliable narration is regarded from the viewpoint of receptive theory taking into account some aspects of genre study. The connection of unreliable narrative with elements and traditions of different genres is revealed. The ambivalent readers' reaction indicates receptive shift in favor of narrative unreliability as a metafictional mode, which allows combining the use of rhetorical and cognitive-constructivist methods in the research of the analyzed novel.

V. S. Naipaul was one of the most prolific writers of the modern time. His writings fluctuate between a sense of psychological crisis triggered by collapse of colonization towards the midst Twentieth century and the meaning of a free man. In other words, his writings look at what does it take to be a free man in a decolonized world; whether this freedom is achieved at the cost of the crisis or within the crisis, or whether the crisis itself is a part of the freedom. However, the understanding of the answer to these questions in his readers seems to be very limiting. The sense of the crisis and the freedom in him has been understood as something narrowing and damaging. However, this can be contested and the sense of crisis, its cause and affect can be best understood with a point of reference to the idea of "irresponsibility" and "contamination" in Jacques Derrida and Gayatri Spivak. His discourse is a meditation on several world contexts-Indian, European, African and Caribbean for instance. This paper contends to say and establish that the sense of crisis in Naipaul as far as his writings on the Caribbean context are concerned, is not damaging, rather it is an enabling phenomenon ensuring a sense of freedom.

This paper aims to explore how Anatolia was represented by the orientalist perspective of the British intelligence officer William John Childs, who traversed across Asia Minor on foot in 1911 in the last decade of the Ottoman Empire during the turmoil that preceded the First World War, prior to the impending collapse of the empire in 1918 and the foundation of the Turkish Republic in 1923. It also attempts to investigate how Asia Minor not only repelled, but also enchanted the Western traveller. Furthermore, this study intends to shed light on how the British colonialist traveller portrayed the peoples of

It is common knowledge for any student of history that the transmission of disease from the Europeans to the Natives of the Western Hemisphere would mostly define the colonization efforts in the Americas. What isn't common knowledge, however, is exactly how the extreme virulence and calamitously high mortality rates of these diseases would ultimately shape the relationship between the colonists and Native Americans, leading to the eventual dominance of the colonists. Edward Winslow and William Bradford, both senior leaders of the Plymouth colony and signatories of the Plymouth Compact, writing here under the shared pseudonym "Mourt," recall their initial impressions of Cape Cod: "Whereas at our first arrivall at Paomet (called by us Cape Cod) we found there Corne buried in the ground, and finding no inhabitants but some graues of dead new buryed." 1 Expecting a land filled with Natives "divided into pety kingdoms. .. [who] shall not dare to offer us any great annoy," 2 ready to be conquered and civilized, according to colonial promoter Richard Hakluyt the Elder, a London lawyer, colonists were surprised to find a land devoid of Natives and ready for colonization. With the depopulated country before them, though, the colonists would find a foothold in the interior with an ease so transformative that the colonization of America would have been impossible to imagine otherwise.

This paper presents a critical analysis of Alexander Pope’s The Rape of the Lock, examining it as a masterful example of the mock-epic tradition and a sharp social satire of eighteenth-century English aristocratic society. Written initially to reconcile a social dispute, the poem transcends its occasional origin to expose the vanity, superficiality, and moral triviality of the upper classes. The study explores Pope’s deliberate use of epic conventions—such as heroic language, epic similes, supernatural machinery, and mock battles—to elevate a minor social incident into a grand narrative, thereby intensifying its satirical effect. Through characters like Belinda and the Baron, the poem critiques gender roles, leisure culture, and the misplaced priorities of a society more invested in appearances than substance. The paper also discusses Pope’s ironic tone and moral intent, aligning his satire with the Augustan belief in reform through ridicule. Ultimately, the analysis demonstrates that The Rape of the Lock remains a timeless literary work that blends wit, form, and social criticism, offering both entertainment and incisive commentary on human folly.