Literature and Politics

Elodiе Lawton Mijatovic translated into English Serbian folk tales (Serbian folk-lore: popular tales, 1874), folk songs (Kossovo: An Attempt to Bring Serbian National Songs: About the Fall of the Serbian Empire at the Battle of Kossovo, Into One Poem, 1885) and tales about Nasreddin Hodja in the Good Words magazine (“Nasr-ed-din Chodja”). The paper relies on previous research, which focused on the cultural aspect of these editions and translation solutions. In this research, the translations are compared and viewed in the context of her other works, as well as the cultural-historical currents and scientific trends of that period. The selection of materials itself is also analysed. Special attention is given to the introductory texts of William Denton, and Elodie Lawton herself.

Vinay and Darbelnet proposed a model comprising seven distinct procedures for evaluating translations, categorized into two general strategies: direct and oblique. This study analyzes different versions of the Persian translations of Shakespearean sonnets by Omid Tabibzadeh and Behnam Moghaddam to determine whether the translated sonnets align with direct or oblique strategies. To achieve this, the authors randomly selected seven Shakespearean sonnets translated into Persian by Omid Tabibzadeh and Behnam Moghaddam. These translations were assessed on the basis of Vinay and Darbelnet's theoretical model. The findings indicated a higher utilization of oblique strategies compared with direct strategies in both translations. In this paper, the micro-level outcomes of Vinay and Darbelnet's model are integrated with the macro-level perspective of Descriptive Translation Studies (DTS) to examine the systematic forces influencing translators' decision-making processes. The authors initially analyzed the selected sonnets using Evan Zohar's polysystem theory to determine the position of the translations within the polysystem, identifying them as either primary or secondary. The analysis revealed that the translated sonnets occupy a secondary position in the polysystem, which is attributed to the predominance of domestication strategies. Subsequently, the collected data were examined through Toury's law of growing standardization and law of interference, revealing a disruption of the source language (SL) pattern to accommodate the target language (TL). This highlighted the influence of the law of growing standardization in the translation process of the seven Shakespearean sonnets. Finally, a concise cultural shift analysis was conducted with the assistance of Iran's translation history, which provided an explanation for both translators' target text (TT)-oriented translations.

Este artículo analiza cuatro cuadros coloniales del Virreinato del Perú que
representan la unión de Beatriz Ñusta y Martín de Loyola, así como el matrimonio de su hija. Desde una perspectiva feminista, explora la representación pictórica e histórica de Beatriz Ñusta y la posible conexión entre ambas. El análisis iconográfico presentado aquí evidencia la agencia de los o las artistas de origen indígena o mestizo que crearon estas pinturas. Asimismo, el estudio de las diferencias iconográficas encontradas en estos cuadros y en una placa de metal que representa parte de la escena revela variaciones en torno a los públicos a los que estaban destinadas estas obras.

This paper challenges the common view that the Myth of Er is an incongruous or extraneous conclusion to Plato's Republic, particularly in relation to the work's treatment of justice and critique of poetry. It argues that in Books II and III, Plato establishes a framework for an ideal form of poetryone that is not only permissible but integral to the cultivation of virtue. Within this framework, a crucial distinction emerges between mimetic poetry, which Plato excludes from the ideal city, and simple poetry, which plays a formative role in shaping a just soul. The Myth of Er, I contend, fully meets the formal and thematic requirements of simple poetry, reinforcing rather than contradicting the dialogue's central claim that justice intrinsically benefits the just. More than a poetic epilogue, the myth is a targeted philosophical intervention, specifically directed at Glaucon. His philonikia (love of victory) risks distorting his spirited nature, preventing its alignment with reason. Through its eschatological vision, the myth illustrates why only a soul properly ordered by philosophy and justice can attain true and lasting eudaimonia. It thus reaffirms the Republic's core argument that justice is its own reward.

Nigerian poetry has consistently engaged issues affecting disadvantaged individuals and groups, shedding light on their impoverished conditions, which the ruling class often ignores. This paper explores the interplay between poverty and social exclusion in contemporary Nigerian poetry, examining how poets deploy figurative language, imagery, and motifs to depict the manifestations of these issues and suggest ways to combat the scourge. The paper focuses on the poems of six Nigerian poets drawn from an anthology entitled 25 New Nigerian Poets. They include Kabura Zakama, Segun Akinlolu, Toyin Adewale, Sunday Ayewanu, Unoma Nguemo Azuah, and LOC Anene. The methodology adopted is textual analysis which emphasises poetic devices, imagery and figurative language as means of representing the disadvantaged persons in the poems. Drawing on post-colonial otherness theory, this research analyses the ways in which Nigerian poetry portrays the experiences of disadvantaged groups, including the deprived, destitutes, the starved and the servile. Through analysis of the poems, this paper reveals poverty as a key driver of social exclusion. It discovers that in depicting the predicament of the poor, the poets unwittingly dwell on the socioeconomic conditions that set social exclusion in motion. Through a critical analysis of Nigerian poetry, this research contributes to a deeper understanding of the complex relationships between poverty and social exclusion, and artistic expression, highlighting the power of poetry to challenge dominant
discourses and promote social change. The paper concludes that poverty and social exclusion manifest through deprivation, destitution, starvation, and servitude, and suggests that these can be combated when the poor embark on protest and use physical violence to dislodge the hegemonic system which impoverishes and excludes them.

En El tilo (2003) de César Aira, la polarización argentina del siglo XX altera el prisma feliz de la infancia, recuperada desde el árbol de la plaza de Pringles, nudo legendario del odio político. Contaminado de irrealidad, el lugar autobiográfico multiplica relatos que activan teorías estéticas y políticas, generados en el espacio de “el pueblo”, barrio obrero donde está el hogar y la filiación extraña al destino del escritor que narra: padre electricista peronista, callado por la madre que exorbita la reacción discursiva del anti. El continuo de Aira elude cualquier síntesis genealógica; como ciertos puntos suspensivos, sus novelas resisten la presión estética, moral y económica de transformar el proceso en resultado. Son textos políticos por esa forma, que despliega combinatorias corrosivas, y no por consideración del referente o la historia. Traspuesto a esta maquinaria, el peronismo no importa como realidad sino como nudo indescifrable entre política, estética, vida y escritura.

Frederick the Great is one of the most important biographical novels of the twentieth century, which is strange, since it does not technically exist. In 1905, Mann started work on a biographical novel about the Prussian monarch, and though he never completed it, his character Gustav Aschenbach from "Death in Venice" did. Biofiction is literature that names its protagonist after an actual historical figure, and while there were a few important biographical novels in the nineteenth century, the literary form had its first major surge in the 1920s and 1930s, with publications mainly from many prominent German writers. Mann, I contend, is of crucial importance in biofiction studies because through his writings about Frederick he provides us with a compelling framework for understanding how authors fictionalize a life in order to support the formation of a particular type of polity.

Commissari: Prof. Stefano Carrai, Prof. Andrea Torre, Prof. Tomislav Bogdan, Prof. Franco Tomasi, Prof. Guglielmo Barucci

Dalle conclusioni: "Analizzare oggi la poesia dalmata e ragusea in lingua italiana non significa soltanto restituire visibilità a una tradizione a lungo marginalizzata, ma anche interrogare i criteri con cui costruiamo i canoni letterari e le nostre narrazioni storiche. Questa poesia, per sua natura porosa e relazionale, sfugge alle definizioni univoche: è un fenomeno interstiziale, che attraversa confini geografici, linguistici e disciplinari, e che proprio per questo richiede strumenti teorici e metodologici capaci di accoglierne la complessità. Studiare questi poeti significa, in un certo senso, compiere un atto di trasgressione: oltrepassare i limiti disciplinari che hanno storicamente separato le due filologie nazionali per oltrepassare anche i confini geografici e ideologici entro cui si è a lungo tentato di circoscrivere, in maniera univoca, le loro opere. Tuttavia, questo atto rappresenta una trasgressione generativa, critica, che non mira a cancellare quei confini, bensì a sottoporli a un riesame, a riconsiderarne la validità e l'efficacia interpretativa. Trasgredire, in questo contesto, significa anche riconoscere che quegli stessi limiti non sono dati naturali e immodificabili, ma costruzioni storiografiche che vanno contestualizzate, discusse e, se necessario, superate. In tale senso, forzando le cornici tradizionali, abitandone le crepe che emergono nel processo stesso di questa forzatura, diventa possibile restituire alla poesia dalmata e ragusea in lingua italiana la sua reale complessità storica e culturale, nonché il suo carattere transfrontalieri, translinguistico e transculturale.

This article investigates the deep binary relationship that typified the interaction between students and leaders, focusing on the two periods which characterized the Cameroonian student under the regimes of Ahmadou Ahidjo and Paul Biya, eras when interactions between sociological entities with historically opposing interests are marked by submission to order and domination as well as hegemonic research. It aims at analysing, from a historical perspective, specific aspects of the university under study: the collective riots of students in Cameroon in the authoritarian context on the one hand and the post authoritarian or pluralism on the other. Many striking facts account for the pertinence of this research. We can for instance single out the importance of calm on campus to politics. Equally, we note the role played by the united student front in the deconstruction of authoritarianism, which almost implanted itself in Cameroon in the 1990s, a decade characterized by the emergence of democracy in Black Africa.

Pero, ¿alguien sabe cómo se atraviesa un lenguaje dominante? ¿Con qué cuerpo? ¿Con qué armas? Beatriz Preciado, "Terror anal" En este trabajo comparo dos versiones del fi nal de la novela corta de Reinaldo Arenas Arturo, la estrella más brillante (1984). Para ello me apoyo en prácticas analíticas de la crítica genética, tanto de la vertiente francesa de esta escuela como de la angloamericana. 1 Específi camente estructuro mi argumento a partir de las consideraciones que este tipo de aproximación hermenéutica ha hecho de los comienzos y fi nales de las obras literarias, considerándolos pasajes claves en los textos, porque determinan no sólo el proceso de lectura e interpretación, sino la direccionalidad de la progresión narrativa. Son zonas que, por decirlo de alguna manera, podríamos considerar de una mayor concentración de la presencia del autor, por las implicaciones que sobre la totalidad del texto van a tener los tanteos y decisiones creativas que darán lugar a un principio y un fi nal particulares. Según ha comprobado la crítica genética mediante la comparación de los sucesivos borradores de la misma obra literaria, los íncipits o inicios de la obra están constreñidos de alguna manera por el desarrollo ulterior de la trama. Ésta no puede aventurarse mucho más allá, en líneas generales, del trazado básico del comienzo. Ambos, desarrollo textual e íncipit, se limitan y determinan, pues el pacto de lectura fallaría si no hubiese una correspondencia entre lo prometido al inicio de la narración y su posterior progresión. El desenlace o excipit, sin embargo, puede participar de esta lógica de una manera más atenuada, sobre todo porque es posible que un fi nal contradiga o defraude las expectativas generadas por las zonas previas del texto (Debray Genette 70).

The Musée de la musique in Paris conserves an important collection of brass instruments, which is often displayed, loaned out or played. The manufacturing techniques used to create these instruments, in particular their plating, are not well known and are rarely documented. Using specialized observational techniques, the authors have revealed several types of data that will help to identify the manufacturing techniques used for this type of instrument in the future. These instruments need regular conservation or restoration. For this reason, the authors compared several different protocols that have been used. The results are discussed with respect to the current state of the instruments and the conservation-restoration treatment formerly chosen. An evaluation grid is proposed to help conservators and restorers choose among potential conservation treatments for brass instruments. Finally, specific maintenance protocols are identified that respect the instruments' playing mechanics, the specific features of the corpus and the ethics and standards of conservation-restoration deontology.

This study analyzes female resistance within the Casa dos Estudantes do Império (CEI) between 1944 and 1965, focusing on the political and cultural participation of women from the colonies, both in the Portuguese mainland and in their places of origin. Through the Mensagem bulletin, leadership roles, and anti-colonial activities, women such as Alda Lara, Alda Espírito Santo, and Noémia de Sousa actively contributed to raising awareness among African peoples. This research aims to give visibility to these forgotten figures and to acknowledge the role of women in the anti-colonial struggle.

The Sinai Peninsula stands as a pivotal arena in the evolving landscape of Middle Eastern geopolitics, intensified by the protracted Gaza conflict. This paper delineates the historical foundations of Sinai's demilitarization as stipulated in the 1979 Camp David Accords, scrutinizes military advancements observed in September 2025, evaluates the stances of principal actors including Egypt, Israel, and the United States, and assesses prospective ramifications for regional equilibrium. Utilizing open-source intelligence, diplomatic disclosures, and analytical frameworks, the study contends that the ongoing militarization signifies eroding compliance with peace protocols, thereby amplifying escalation hazards while not inevitably precipitating overt hostilities. The inquiry upholds impartiality, integrating diverse perspectives to illuminate the intricacies of interstate dynamics in the area.

Colm Tóibín is considered one of the best biofictionalists today. His biographical novel about Henry James (The Master) is regarded as a canonical work in biofiction studies. In this interview, I talk with Tóibín about The Magician, his biographical novel about Thomas Mann.

Perica and Peyroles's purpose in this introduction and in the research project The Cartography of the Political Novel (Caponeu), to which this collection belongs, is not to introduce a new category that complements – or opposes – other established genre designations such as the engaged novel or the thesis novel. Rather, it is about examining the relevance of the term ‘political novel’ anew. Why do we consider it important, both as a tentative genre and as a politically productive and dynamic social phenomenon, both in its past, its present and – predictably – in its future? While recognising the current scholarly interest in the inherently political nature of all writing, we argue that certain novels, unlike many others, benefit from being more directly designated as political novels.

Maurice Blanchot’s itinerary as a critic and writer is marked by a transformation
occurring around the beginning of WW2, when Blanchot abandoned rightwing political journalism to focus on literature. His criticism and narrative fictions from the 1940s elaborate the notion of a ‘pure novel’, inspired partly by Mallarmé, in response to historical conditions of the Occupation, in an assertion of literary sovereignty after bitter political defeat. Blanchot casts this "pure" form of writing through figures of light and luminosity that would transcend, even destroy, empirical experience – moving toward the disaster he will later invoke – thus affording a certain evasion from historical realities, while also betraying an intimate relation to their specific concrete historical conjuncture. The argument is not that Blanchot sublimates / allegorises political disappointment through literary narrative (see Jeffrey Mehlman in the 1980s), but that his literary texts enact a relation to factual political and historical responsibility that ‘pure’ literature fails to liquidate, but rather continually evokes. Tracing out constitutive evasions in Thomas the Obscure, Aminadab, The Madness of the Day, and The Instant of my Death, reveals how Blanchot’s fiction betrays a necessary accounting of the author’s factual history, a historical responsibility called up in the strange vacuous light of literature itself.

Aswang narratives have vigorously permeated online spaces of intellectual discourse, such as books, journal articles, and films, a testament that this indigenous folklore is a cultural capital vividly establishing its position in the literature, preserved for the Filipino heritage and traditional knowledge to live on. I performed a critical reading of 28 articles on aswang and utilised Peircean semiotics as a lens through which aswang significations are captured in my interpretation. Seven striking themes that stand for something bigger (signs) emerged in my reading, with their possible interpretations (objects). First, both old and current aswang articles have predominantly described typologies, classifications, or categories of aswang, which has resulted in aswang’s multifaceted nature signifying the continuity of the myth. Second, Filipina shamans and priestesses during the Spanish colonisation, who had been heavily maligned and demonised, along with aswang appearing prevalently as a monstrous female, signify oppression, subversion, and Othering of women in an unabatingly patriarchal society. Third, the ubiquity of aswang as a symbol of invasion, manipulation, and colonisation suggests a call to awareness and discernment as a way of breaking the contorted belief that it exists if in reality it does not, as well as imploring the Filipino people to see the “real” aswang right in front of their eyes. Believing in the myth and perpetuating this belief appears to be a social ill, suggesting delusion, self-deception, and an unfortunate acceptance of ignorance or enslavement by a distorted logic. Moreover, the ominous and appalling audibility of sounds and soundscapes in aswang descriptions, along with their gruesome images, suggests that aswang is a metaphor for an abusive, dysfunctional, deviant, perverted, and corrupt society in which we live and the perpetuation of abuse of power. However, descriptions in current literature have displayed aswang’s shapeshifting, hybrid, liminal, and transcendent nature (i.e., the traditional aswang as a blood-sucking female creature versus modern-day aswang as blood-hungry dominant men in politics and power), urging us to believe that we can reinvent our logic and imagination by carefully noticing our very reality rather than dwelling on the myth. Both in its folkloric understanding and transcendent nature, aswang emerges to be a symbol of fear, anxiety, intimidation, terror, and trauma, illustrating the destructive nature of aswang embodied by a subtle but insidious hegemonic power in an increasingly dysfunctional Philippine society. Nonetheless, despite the horrors of aswang symbolised by colonialism and trauma, there remains the courage of the Filipino to arrest such painful experiences in memory by continuing the act of remembering. This is possibly because, as a people, they are drawn to revisit distant pain and grief despite how aswang has vehemently destroyed their very consciousness. The Filipino people somehow dwell with distant pain and suffering rather than forget, because dwelling with pain is their way of healing.

Z zainteresowaniem przeglądałem pierwszy numer kwartalnika "Scriptores Scholarum". Gratuluję Redaktorom pomysłu i koncepcji takiego właśnie pisma. W naszej literaturze odczuwa się brak dobrych prac popularnonaukowych. Cieszy także zespół piszących. Są to ludzie młodzi, szukających prawdy, dobra i piękna. Myślę, że pismo daje im szansę ukazania swojego talentu i bogactwa myśli. Niech dobry Bóg błogosławi zamiarom Twórców szkolnego kwartalnika publikującym w nim swoje artykuły Autorom. Słowa uznania i pochwały również pod adresem Kierownictwa Społecznego Liceum Ogólnokształcącego. Brawo -"Zawiszacy"! Szukajcie nowych dróg! Budujcie lepsze jutro! Czuwaj! Recenzja pierwszego numeru "Scriptcres". "Czytelniku Wybredny, który śnisz o Troi i chciałbyś widzieć wszystko na miarę Homera!...

Il faut quelques années avant que Les villes invisibles de Calvino, paru en 1972 chez Einaudi, ne soit transposé en allemand. Sa traduction, intitulée Die unsichtbaren Städte, paraît en 1977 dans une double édition en République Démocratique et en République Fédérale (respectivement chez l'éditeur berlinois Volk und Welt, et chez Carl Hanser de Munich). Le traducteur est le même, Heinz Riedt, ce qui est assez insolite pour l'époque, et peut se justifier par l'importance de l'écrivain et la nécessité d'avoir un texte de référence pour le livre d'un grand écrivain.

© Presses universitaires de Rennes. Ce document est réservé à un usage privé. Il ne peut être transmis sans autorisation de l'éditeur. © Presses universitaires de Rennes. Ce document est réservé à un usage privé. Il ne peut être transmis sans autorisation de l'éditeur.

De Hiroshima à Tchernobyl : comment vivre à l'âge atomique ? Nous sommes, depuis 1945, confrontés à la production d'un homme nouveau, non seulement en tant que genre humain -ce que toutes les formes de la Modernité ont tenté, avec plus ou moins de chance, de fabriquer, et tout particulièrement le système soviétique -, mais aussi et surtout en tant qu'espèce (menacée). S'agissant de l'espèce humaine, cette grande mutation a en réalité commencé il y a plusieurs décennies avec la réalisation des essais nucléaires dans l'atmosphère. Lesdits « essais » ont déjà commencé à produire leurs effets, depuis l'irradiation du pêcheur japonais Atichimi Kuboyama, première victime civile de l'expérimentation en plein air, jusqu'à la mise en évidence récente, au Canada et en Russie notamment, de leurs conséquences sanitaires. On peut considérer que, peu ou prou, 150 millions de Soviétiques et autant d'Américains ont subi à différents niveaux les retombées des essais atmosphériques entre 1946 et 1963 (année du traité d'interdiction des essais aériens), soit 300 millions de personnes. On a libéré durant cette période l'équivalent de 10 000 bombes d'Hiroshima, à quoi se sont ajoutés ensuite les dégagements de rejets radioactifs gazeux dus aux essais souterrains. Les rejets radioactifs libérés dans l'atmosphère par les explosions (70 % du total), qui devaient théoriquement se répartir de manière égale sur toute la planète, furent aspirés par des courants de haute altitude et se sont, en réalité, concentrés autour du 40 e parallèle avant de

Témoigner sur Tchernobyl : les sciences humaines et l'art face à la catastrophe G. Grandazzi, F. Lemarchand, avec le concours de V. Symaniec Quinze ans après l'accident de la centrale de Tchernobyl, sept millions de personnes vivent aujourd'hui, et pour longtemps encore, dans les territoires contaminés de Biélorussie, d'Ukraine et de Russie. On peut aisément comprendre les raisons pour lesquelles les pays les plus nucléarisés du monde ont tout mis en oeuvre pour dissimuler cette histoire et tenté, par différents moyens médiatiques et scientifiques, de « faire passer » et/ou d'occulter ce passé. On pourrait également comprendre les raisons pour lesquelles l'Histoire, dans son sens moderne d'histoire des vainqueurs 1 , ne parvient pas à prendre sens autour d'un tel passé, à l'instar de la Shoah ou d'Hiroshima. Cette histoire-là, celle de la première catastrophe technologique civile majeure de l'humanité, n'a pas produit de héros : les « liquidateurs », glorieusement sacrifiés sur l'autel des intérêts supérieurs de l'État et de la rationalité technique, agonisent silencieusement dans les hôpitaux. Elle n'a pas engendré non plus de grand récit : elle ne figure pas dans les livres d'histoire. Mais elle n'en a pas disparu pour autant de la mémoire ni du quotidien des millions de personnes dont elle a littéralement changé le monde. Ainsi, persuadés que seule la mobilisation de ces mémoires de vaincus, individuelles ou collectives, de ces mémoires silencieuses des « sans parole » sera véritablement « à la hauteur » pour rendre compte de la situation dans sa dimension inédite et radicalement nouvelle pour l'humanité, c'est-à-dire à hauteur d'homme, quelques écrivains, artistes, metteurs en scène ou réalisateurs ont envisagé d'en livrer l'expression à partir du recueil des témoignages, au travers de diverses oeuvres, dont la plus retentissante aura indéniablement été celle de l'écrivain biélorusse Svetlana Alexiévitch : La Supplication, vendue à des centaines de milliers d'exemplaires à travers le monde, et désormais adaptée au théâtre. Partageant le même souci et la même attention à la question du témoignage, le recueil de la parole des habitants des zones contaminées, dans le cadre d'une recherche à caractère socio-anthropologique menée en Biélorussie de 1997 à 1999, nous amène à penser que les sciences humaines et l'art sont susceptibles de produire du sens quant à ce qu'on pourrait qualifier, en empruntant l'expression à Günther Anders (1995), de « bloc saillant de l'histoire », alors que les sciences « dures », principalement sollicitées dans le cadre des tentatives de compréhension de la catastrophe et de gestion de ses conséquences, contribuent à occulter la dimension métaphysique et politique de Tchernobyl. La question à laquelle nous renvoie l'histoire du XX ème siècle, parmi les décombres des deux guerres mondiales, du nazisme et du stalinisme, et à présent ceux de la catastrophe nucléaire, est finalement celle de la fin de l'historisme, c'est-à-dire de l'écriture de notre propre histoire comme récit fondateur pour les générations à venir. « Le vingtième siècle est un monstre historique, réfractaire à tout rangement dans la succession des époques humaines », remarque Alain Finkielkraut (2000). Comment écrire une histoire sur une série de catastrophes, le plus souvent ramenées à des « erreurs du passé » ? Que faire des fragments épars de la mémoire des vaincus ?

International audienceCet article synthétise les résultats de dix années de recherches sur les conséquences sociales et anthropologiques de la catastrophe de Tchernobyl. Ces travaux ont été notamment publiés sous la direction des deux auteurs dans Les Silences de Tchernobyl (Autrement, 2004), « Témoigner de Tchernobyl, les sciences humaines et l’art face à la catastrophe » (in Bélarus, l’état d’exception, Presses de l’Université de Laval, Québec, 2003) et « Vivre en zones contaminées ou les paradoxes de la gestiondes risques » (in Chroniques de la Biélorussie contemporaine, L’Harmattan, 2001)

This article considers that the failure of France to reconcile Islam in Algeria with both its assimilationist and associationist policies critically undermined the L'Algérie Française colonial project. It argues that France's inability to either destroy or appropriate Islam was as significant a factor in the collapse of its rule as any other political, economic or social issue.

While the moral disarmament of Empire, France's postwar bankruptcy and the success of anti-colonial groups have been studied extensively by historians of French Algeria, this article emphasises how the resolute influence of Islam continually challenged the metropole and colonial administration.

This argument will be developed by chronologically exploring how France's internal political turmoil throughout 1830-1945, combined with the entrenched Islamophobic attitudes of the pied-noirs settlers, ensured that L'Algérie Française would remain a reality in name only.

Finally, it will assess the significance of the repression of Islam in the build-up to the 1945 Sétif Massacre, which would be instrumental in provoking one of the bloodiest wars of decolonisation that would culminate in Algeria's liberation.

Depuis le mois de juin, Perpignan vit dans une lumière qui ne connaît plus la nuance. Les murs s'écaillent de blanc, les feuillages passent du vert tendre au jaune sec, l'air vibre comme une toile tendue. Les ombres se rétractent, tout semble surexposé, comme un polaroid oublié au soleil. Et l'on se surprend à poser cette question simple : qu'est-ce que l'été, au juste ?

Punktem wyjścia artykułu jest inwentaryzacja praktyk czytania i pisania w pamiętnikach chłopskich nadesłanych na konkursy Instytutu Gospodarstwa Społecznego. W tekście prześledzone zostaje znaczenie tych praktyk oraz – w przypadku części pamiętnikarzy – zrekonstruowane ich faktyczne biografie oraz społeczne zaangażowania.

Słowa klucze: chłopi, historia chłopów, historia ludowa, piśmienność, pamiętnikarstwo, pamiętnikarze, pamiętniki, dwudziestolecie międzywojenne
Małgorzata Litwinowicz-droździel-dr hab., prof. ucz., pracuje w Instytucie Kultury Polskiej UW. Zajmuje się wiekiem XIX, kulturową historią literatury, przemianami modernizacyjnymi oraz praktykami żywego słowa. Wydała książki O starożytnościach litewskich. Mitologizacja historii w piśmiennictwie historycznym byłego Wielkiego Księstwa Litewskiego (2008) oraz Zmiana, której nie było. Trzy próby czytania Reymonta (2019). Kontakt: m.litwinowicz@ uw.edu.pl.

En este trabajo analizaremos la relación entre precariedad y clase social en las obras de cuatro poetas jóvenes, Carlos Catena, Rocío Acebal Doval, Begoña Rueda y Abraham Guerrero Tenorio, galardonadas con el Premio Hiperión y el Premio Adonáis. A partir de sus poemas ahondaremos en cómo el trabajo precario y la emigración quiebran la propia percepción de los autores acerca de su posición en la sociedad, llevándoles a cuestionar la vigencia del imaginario clasemedianista para su generación y a reivindicar unos orígenes de clase contrarios a las dinámicas culturales desobrerizadoras de las décadas anteriores a la crisis económica de 2008.

Dalit literature emerges from the crucible of lived experience within the Indian caste system, chronicling centuries of oppression, resilience, and the relentless quest for human dignity. This paper undertakes an exploration the origins, evolution, thematic concerns, and socio-political significance of Dalit literature as a powerful counter-narrative challenging dominant cultural and literary paradigms. Focusing on the Indian context, it underscores the pivotal role of Maharashtra in the movement's genesis while affirming its pan-Indian presence. Through analyzing expressions of pain, protest, and aspiration, the paper establishes Dalit literature not merely as a sub-genre but as a vital testimony to the human spirit's resistance against dehumanization, offering critical insights into Indian society and the ongoing struggle for social justice.

O presente estudo propõe uma leitura acerca da representação da natureza e da condição humanas nas narrativas de José Saramago por meio de um viés ensaístico e que se projeta para uma perspectiva teórico-filosófica. A prosa de ficção será, neste trabalho, revisitada e examinada como um espaço textual que possibilita o desenvolvimento do gênero ensaio com base nos pressupostos de Montaigne, aproximando-se ainda de um tratado teórico e filosófico 1 com o intuito de apreender a perspectiva de humanidade representada por Saramago em suas obras. Para tanto, serão utilizadas algumas prosas de José Saramago, especificamente Manual de Pintura e Caligrafia (1977), O Conto da Ilha Desconhecida (1997) e Cadernos de Lanzarote (I-V) (1994). Pretende-se conduzir uma reflexão que buscará apurar a natureza e a condição do constructo humano na narrativa saramaguiana, ressaltando as aproximações com o pensamento filosófico de Michel de Montaigne e de Karl Marx, verificando como distintas tendências filosóficas foram, direta ou indiretamente, assimiladas na escrita de Saramago e na sua visão do que consiste o ser humano.

O presente estudo propõe uma leitura acerca da representação da natureza e da condição humanas nas narrativas de José Saramago por meio de um viés ensaístico e que se projeta para uma perspectiva teórico-filosófica. A prosa de ficção será, neste trabalho, revisitada e examinada como um espaço textual que possibilita o desenvolvimento do gênero ensaio com base nos pressupostos de Montaigne, aproximando-se ainda de um tratado teórico e filosófico 1 com o intuito de apreender a perspectiva de humanidade representada por Saramago em suas obras. Para tanto, serão utilizadas algumas prosas de José Saramago, especificamente Manual de Pintura e Caligrafia (1977), O Conto da Ilha Desconhecida (1997) e Cadernos de Lanzarote (I-V) (1994). Pretende-se conduzir uma reflexão que buscará apurar a natureza e a condição do constructo humano na narrativa saramaguiana, ressaltando as aproximações com o pensamento filosófico de Michel de Montaigne e de Karl Marx, verificando como distintas tendências filosóficas foram, direta ou indiretamente, assimiladas na escrita de Saramago e na sua visão do que consiste o ser humano.

Literature and the History of Political Philosophy

This Special Issue, edited by Dr. Dustin Gish, seeks contributions from scholars working at the intersection of the history of political philosophy, literature, philosophy, and literary studies—particularly those who regard works of literature and literary fiction not merely as the adornments of a political life or shadows of civic sentiment, but as an essential forum for the education of the soul and the interrogation of justice.

Proposed contributions should take seriously the ways in which literature, poetry, drama, and narrative not only reflect but also advance the historical traditions of political philosophy. This Special Issue thus invites articles that approach literature as a distinct mode of political philosophy and literary approaches to questions of the best life and the best regime, the nature of justice and constitutional liberty, and the pursuit of virtue and wisdom.

Literature is a peer-reviewed, open-access journal published online by MDPI and committed to fostering dialog between disciplines and traditions. This Special Issue will highlight articles that aim to illuminate political and philosophical dimensions arising within and through the form and genre of literary texts, embracing a vital sense of engagement with classic works of literature that are in conversation with authors and texts in the history of political philosophy. Accepted proposals will undergo rigorous peer review.

Please submit an "Abstract" (proposal) through the website link of no more than 750 words, along with a brief CV, by October 1, 2025.

https://www.mdpi.com/journal/literature/special_issues/8868E420V5

Proposals should outline the central argument of the proposed article, its primary text(s) or author(s), and how it speaks to the theme of the Special Issue. Abstracts will be reviewed by the Guest Editor for the purpose of ensuring proper fit with the scope of the Special Issue. Full manuscripts will undergo double-blind peer review. Authors whose proposals are accepted will be invited to submit full-length articles of 6,000 to 8,000 words no later than April 30, 2026.

Овај рад се бави новим књижевним феноменима који су проникли из контекста другачијег постхуманог доба, услед експанзије технологије и информатичког кодирања у култури и свеукупности стваралаштва човечанства. Превасходно се сагледава појам дигиталне, тј. електронске књижевности, дајући преглед њеног развоја и односа са друштвом Треће и Четврте индустријске револуције, као и академским дискурсом који настоји да је уведе у праксу књижевне теорије и као такву дефинише и конципира. Увидом у оквире дигиталне књижевности, у раду се истичу најреферентније карактеристике дигиталне књижевности, попут хипертекста и интеракције, које ће се затим увезати у низ асоцијација и смерница према делима аутора хиспаноамеричког фантастичног реализма Хорхеа Луиса Борхеса и Хулија Кортасара. Тако ће се указати на могућности нових ишчитавања дела поменутих аутора као узора и антиципатора дигиталне књижевности, која јесте везана искључиво за доба којем својим постојањем они нису стигли да посведоче, али до које су досегла њихова најистакнутија дела као својеврсни палимпсести и књижевни супстрати.

Dalit literature in English constitutes a formidable movement of courage and self-assertion. For generations, India's Dalit communities—historically designated as "untouchables"—endured systemic oppression under the caste hierarchy, their narratives either silenced or appropriated by dominant voices. This article analyzes how Dalit writers transform this reality through potent literary expression, converting personal trauma into collective resistance and reclaiming fundamental human dignity. The investigation specifically examines how authors, including Omprakash Valmiki, Bama Faustina, and Meena Kandasamy deploy literature to confront centuries of discrimination. Their work transcends mere documentation of suffering, innovating narrative forms that synthesize traditional folk idioms with contemporary literary techniques. The strategic adoption of English facilitates dual objectives: engaging educated Indian audiences often detached from caste based realities, and forging transnational connections with global struggles for human rights. Furthermore, the article traces the literary movement's emergence from the ideological foundations laid by Dr. B.R. Ambedkar, who conceptualized education as an instrument against caste subjugation. Critical attention is given to intersectional dimensions, particularly Dalit women's compounded struggle against caste and gender oppression. The analysis also evaluates the literature's societal impact: its role in reshaping educational curricula, catalyzing national discourse on privilege, and empowering new generations.

his paper attempts to recognize and identify the import of language choice that characterizes Idris Amali's Efeega: War of Arts. Therefore, this work takes a critical look at the salient words or expressions that constitute the symbolic representations evidently portrayed in this poetry collection and how some of the poems keep engaging the perception of the reader.

Miguel de Unamuno se sentía anclado a la intrahistoria de los españoles de siempre que creen, rezan y hacen cosas para luego pensar sobre ellas como medios de progresiva realización personal. Cristiano, que vive “agónicamente” la tensión entre razón y fe, a fuer de vasco, se ve a sí mismo y ve a sus paisanos como españoles hasta el tuétano y, desde esa vivencia, confiesa: “me siento con un alma medieval y se me antoja que es medieval el alma de mi patria; que ésta ha atravesado, a la fuerza, por el Renacimiento, la Reforma y la Revolución”. Escribe como cree y vive: sincera, apasionada y contradictoriamente, pero siempre pegado a la tierra en perpetua hambre de Dios y con la esperanza de un mañana mejor que el presente. Hubo un tiempo en el que, abiertamente, compartió con los marxistas la idea de que los medios y modos de producción marcaban la pauta a la historia, pero pronto se le impuso la convicción de que, por encima de tal condicionamiento (que no “determinación”) había de situar a la Religión, verdadero motor de voluntades. Nos queda la duda si, realmente, para Unamuno el Cristianismo fue la vivencia íntima con Dios a través de Jesucristo y, por lo tanto, bastante más que un compendio de cultura o civilización.

Dilarang mengutip sebagian atau seluruh isi dengan cara apapun, termasuk dengan cara penggunaan mesin fotocopy tanpa izin sah dari penerbit. diketahui motif, arah gerakan, keakurasian, ideologi, dan sebagainya. Dua alternatif tersebut setidaknya dapat menjadi alternatif bijaksana sebelum memutuskan sikap yang kurang bijaksana. Selesainya buku ini tidak bisa dilepaskan bantuan, semangat, dan dukungan dari berbagai pihak, terutama untuk kedua orang tua, istri, dan adiknya yang masih di dalam kandungan. Trimakasih saya sampaikan juga kepada Universitas Hasyim Asy'ari yang selalu mendukung para dosennya untuk mengembangkan komunikasi intelektualnya.

延安文艺工作是在战争背景下随时调整策略的动态变化过程， 源于多重历史主体的塑造，也与现实语境的错综变换相关。既往研究或着 眼于领导人的理论构想，或着眼于知识分子主体，或集中在部分经典作品 的读解，而对上述要素之间的互动关注不足。延安文艺制度的形成并不是 政治家设计的结果，制度的落实依赖现实的结构。梳理《文艺突击》《大 众文艺》《文艺月报》等报刊，有助于勾勒 1937—1942 年延安在文艺生产 方式方面的不断调整及其现实语境。无论是抗战初期对战地服务团的推崇， 1941—1942 年“杂文时代”思潮的形成，还是延安文艺座谈会后的秧歌戏、 报告写作与旧戏改造，都诞生于中共与文化人在同一文艺场域内的持续互 动。《在延安文艺座谈会上的讲话》正是对这种长时段经验探索的总结， 既是集体智慧的结晶，也有赖战时语境的塑造。

The sixth book of Virgil's Aeneid stands out from the text because it is the crystallization of the structural and allusive procedures that organize the text. The narrative of the founding myth of the Temple of Apollo in Cumae and the description of the reliefs decorating the temple's gate, with the figure of the mythical architect-inventor-sculptor Daedalus in the center (6,14-41), were placed at a highlighted position within the key sixth book: at the beginning. Aeneid philology interprets the temple scene of the sixth book mostly from the point of view of ekphrasis, more precisely in connection with the other ekphrases in the Aeneid. In my paper, I will not concentrate on the interpretation of Daedalus' reliefs, but on the entirety of the Cumae scene. Specifically from the perspective of the roles, I shall examine the layers of meaning that can be formed in the textual space of the Aeneid around Aeneas' scrutiny of the image during the time of waiting and around the narrator's description of the image.