New Economic Criticism

William Shakespeare is the world's pre-eminent dramatist and renowned poet in English literature. His plays are like perennial rivers, which keep on flowing forever. The plays of William Shakespeare are ever green and they closely reflect the human emotions. They usually move from particular to general i.e. the story of an individual becomes the story of humanity. His works acquired universal acceptance and they appeal to the noble and the groundlings alike.

Among the plays of William Shakespeare King Lear is an exquisite example of the nature of the human emotion and how we connect to emotion. The word 'heart' in terms of emotion plays a key role in the play King Lear. In this play we find warm-hearted, hard hearted and plain heartless characters struggling with each other. King Lear closely reflects the human emotions and feelings. It mirrors love, hatred, deceit, affection, affectation, loyalty, lust, infidelity, treachery, patriotism, realization, compromise, immorality, sacrifice etc.

This paper examines how the play King Lear reflects human emotions and discusses the details regarding this.

Since the thirteenth century at the latest, the role of money had become increasingly important in the wake of growing national and international trade, which also found vivid expression in many literary texts. These texts often serve well as mirrors of social and economic transformations, such as the Schwank (jest narrative), in which the various poets made fun of many different people and laughed about ordinary situations both in the village and in the city, in a monastery or in a castle. Hence, the explicit thematization of money in these Schwänke (plural) does not really surprise us, but scholars have not paid enough attention to this phenomenon. Turning to the voluminous Wendunmuth by Hans Wilhelm Kirchhof (1563), we have an excellent opportunity to identify the ubiquitous presence of money in all human relations and the trouble which it has always created. In his short prose texts, we encounter some of the most explicit comments about the huge impact of money on early modern German society. Keywords money in late medieval literature • jest narratives • Hans Wilhelm Kirchhof • economic criticism • Jews Citation: Classen, A. (2025). The discourse on money in early modern literature. The case of Hans Wilhelm Kirchhof's Wendunmuth (1563).

King Lear is one of the most famous tragedies by the great Elizabethan playwright William Shakespeare. Perhaps this is the most exceptional play by Shakespeare not only for its protagonist’s being an old-aged man who is nearly at the end of his life but also for its artistic blending of good and evil forces through the whole action line of the play. Here, as the protagonist is an old king, it is expected that he should have possessed some worldly wisdom being experienced by his lifetime achievements in this world. But unfortunately, the actual happening is the other way round – King Lear, the old king, is trapped by the devilish activities of the evil forces. This very play, King Lear, is often criticized for its contents of too much exaggeration of the evil forces and their frequent victory over the good ones, rejecting the traditional 'poetic justice'.

FORTHCOMING AUGUST 2025
This edited volume de-familiarizes European conceptions of artistry and thinks its history anew. It represents a rethinking on a global stage of some of the most fundamental assumptions in what were once arguably helpful methodological tools in art history.

As the chapters in this book demonstrate, the category of artisanal knowledge opens up the history of culture, allowing discourse to be freed from a narrative of cultural development without excluding Art with a capital A from consideration. Our shared inquiry, approached through many different case studies involving many kinds of data and contexts, focuses attention on methodological aspects. Each chapter provides a sustained meditation on artisanal knowledge that includes intellectual, social, economic, and political factors without relying on universals, monolithic categories, hierarchies of genre and medium, or the use of binaries, least of all the global/local binary. As different as they are from one another, all the chapters in this book ask about various connectivities among peoples, ideas, things.

A man of business and poetry, Wallace Stevens is a peculiar master who combined a love of poetry and money in his life, overriding the gap between literature and economy, imagination and reality. Examining "Thirteen Ways of Looking at a Blackbird" and "Six Significant Landscapes" in the light of New Economic Criticism, we attempt to expound on the different rhetorical techniques and particular language and style Stevens has used to create an artistic product with economic value. We seek to explicate how Stevens's interest in money, power, prestige, and security as an insurance-poet man pertains to the accumulation of various types of capital-cultural, economic, social and symbolic in Bourdieu's sociological framework. Also examined is how Stevens borrows artistic devices/conventions-like light/shadow imagery, repetition and geometric shapes-from painting schools like impressionism, cubism and oriental paintings to ensure the exchange value of his poetry in the modernist marketplace. Furthermore, this interdisciplinary study explores the relationship between language and the economic system, focusing on Stevens's particular economy of language displayed in simple, short, declarative and ironic statements; the economy of imagery is present in precise and sharp images and haiku forms as it appears in imagism; and economy of space pictured in simple locations. The exchange between ideologies of the East and West also merits special attention.

Zbigniew Herbert (one of the greatest poets in the twentieth century) graduated from Trade School (now the Cracow University of Economics). The fact can be seen in his work. In Herbert's essays we find not only a wide range of economic problems, but the real passion with which the author describes the economic base of any civilization. Essayist takes care of micro-and macroeconomics. From the economic point of view, one of the most interesting essays is dedicated to sketch the phenomenon of the speculative bubble in 17 th century Holland ("Tulips smell bitter volume"). This paper is a fragment of the work in print: Józef

Zbigniew Herbert, jeden z najwiekszych poetow XX wieku, ukonczyl Wyzszą Szkole Handlową (obecnie Uniwersytet Ekonomiczny w Krakowie). Ten fakt daje sie zauwazyc w jego tworczości. W esejach Herberta znajdujemy nie tylko szeroki wachlarz problemow ekonomicznych, ale takze prawdziwą pasje, z jaką autor opisuje gospodarcze podstawy wszelkich cywilizacji. Eseista zajmuje sie mikro- i makroekonomią. Z ekonomicznego punktu widzenia jednym z najciekawszych esejow jest ten poświecony zjawisku „banki popytowej” (Tulipanow gorzki zapach) w siedemnastowiecznej Holandii. Szkic jest fragmentem przygotowywanej do druku ksiązki Wytarty profil rzymskich monet. Ekonomia jako temat literacki w tworczości Zbigniewa Herberta), JMR Transatlantyk, „Biblioteka Pana Cogito”, Krakow 2016.

For Bobkowski, to maintain personal freedom based on material independence achieved through his own work was a fundamental existential issue. Freedom and financial independence were: a declaration, a life’s motto and an economic programme. The writer’s concept was, eventually, reduced to a change of his status as a political exile to the situation of an economic migrant who also supported Poland’s freedom.

This Chapter explores the role of semantic inflation in systemic breakups, aiming at the integration of empirical evidence from communicative systems in nature, society, politics, and economics. Generally speaking, semantic inflation occurs when the energy spent on transmitting or decoding a certain amount of information goes up: moving goods around the market takes more money, making a pertinent loyalty pledge to the leader or deity requires a higher number of flattering superlatives, and attracting male attention necessitaes ever larger secondary sexual traits. While many of such processes are gradual and apparently harmless

Although the opposition 'revolution' vs. 'Counter-Revolution' coined in France after 1789 was supposed to provide a universal sieve for sorting out the enemies of the new regime, in a gigantic empire its use faced formidable obstacles. The tacit segmentation of Russia was not only due to its combination of vast size and underdeveloped infrastructure, but also reflected the low literacy rate which limited the applicability of such distal codes as writing: whatever was proclaimed "counter-revolutionary" behind the Kremlin walls was often reinterpreted on the ground based on local circumstances and objectives. The chapter demonstrates how this state of affairs had nearly cost the American communist journalist John Read his life. Armed

En annan sida av medeltiden: den sovjetiska* »She past is never dead. It's n o t even past.» (William Faulkner) »Dessutom ar det ganska poänglöst att pi detta satt grava i det förflutna.» (Lars-Arne Norborg) Citatet av Faulkner anfördes av den amerikanske sovjetforskaren Stephen Cohen är 1977 som argument för att det ar nödvändigt att studera den sovjetiska historien intensivare an vad som nu ar fallet i väst, för att förståelsen av dagens sovjetiska samhalle skaU kunna fördjupas. Cohen varnade mot följderna av den nedgång i sovjetforskningen som under 70-talet skett i USA. Tidigare hade man i totalitarismparadigmets tecken mest studerat den politiska regimen i sovjetisk historia. När man sedan övergatt till behavioristiska och komparativa metoder, hade den historiska aspekten försummats. Nu, nar en god grund hade lagts för bättre kunskaper om Sovjetunionen, hade man börjat skara ner forskningsanslagen. Cohen menade med sovjetisk historia just sovjetisk, dvs perioden efter 19 17. Det går givetvis inte att stanna vid detta årtal, om man vill försöka nå f~rståelse av hela det sovjetiska samhället och dess kultur i vid mening. aven den ryska historien före 19 17 måste beaktas. Lundahistorikern Lars-Arne Norborgs utsaga framfördes 1979 i en f ö mycket valvillig recension av en svensk undersökning av den sovjetiska debatten om förhållandet mellan samliallet och naturen. Undersökningen hade agnats tidsperioden 1960-1976. Vad Norborg vande sig mot var, att författarna (Lars Lundgren och jag) konstaterade, att utvecklingen under hela sovjeteran visade, att Sovjetunionen försuttit sin historiska chans att visa hur man tillvaratar miljöintressena nar man upprättar och bygger ett socialistiskt samhälle. Vad Norborg awisade soin poänglöst gravande i det sovjetiska förflutna byggde på följande omdöme (som han inte anförde) p5 samma sida i boken: »Den lärdom, som obönhörligen infinner sig, när man studerar miljöproblem i Sovjet, ar alt marxism-leninismen som statlig ideologi, statligt agande av produktionsmedlen och socialistisk planhushållning inte alls behöver innebära att vasentliga miijöintressen tillvaratas vid utvecklingen av folkhushillet». Norborg menade att man i stället för att »gräva i det förflutna» skulle blicka framåt och i både öst och väst anta »utmaningen från vår skadade och hotade miljö)). Det ar inte troligt att en framstående forskare och skicklig historiker som Lars-* Omarbetad version av ett föredrag i Historiska föreningen i Lund 1977

This article examines the tertium comparationis of Plato's critique of poetry and Zbigniew Herbert's reflections about the mission and message of art. Plato banishes poetry from his ideal city, but the ban is not total. There are some kinds of poetry that would be allowed to flourish, though what they are is left to guess. The 'good' poetry is defined only by negation, in discussions of the defects of even the most highly regarded compositions like Homer's epics. Be that as it may, let us ask a speculative question about poems that could actually pass Plato's test of excellence? Could, perhaps, Herbert's poetry be the obverse of Plato's negative examples, their counterpart, like them made of words, the material of poetry? Answered in the positive, the question becomes a proposition in need of proof. This is done by examining Plato's key concerns – the relation of art to truth, the paideic function of poetry, and the primacy of ethics over aesthetics. Practically in every respect Herbert appears to follow Plato and be at odds with the Avant-garde. Given Herbert's high moral seriousness, one would be tempted to ask another speculative question: Would he follow Plato in banishing the poets from the ideal polis?

Two months after Ronald Reagan assumed office as the fortieth president of the United States, Bernie Sanders was elected the thirty-second mayor of Burlington, Vermont. Both men remained in office for eight years. When Reagan stepped down in 1989, his policies and programs were continued by his vice-president, who was elevated to the presidency by the same conservative coalition that had supported Reagan. Sanders stepped down in 1989 after serving four two-year terms as mayor. His policies and programs were continued by Peter Clavelle, who had served as Sanders's director of community and economic development. Clavelle was carried into office on the shoulders of Burlington's "Progressive Coalition,' the same third-party movement that had supported Sanders. There is considerable irony in the fact that the decade of the "Reagan revolution" in Washington was also the decade of "Sanderista" rule in Burlington. These two political movements had little in common. Their leaders, Reagan and Sanders, shared even less. Indeed, it would have been difficult to find two elected officials anywhere in the United States during the 1980s who were further apart in background, ideology, and political agenda. The man elected president was a middle-class midwesterner of Irish descent whose entire career, first in the movies and then in politics, had been heavily bankrolled and carefully scripted by men of wealth and power. Ronald Reagan was the most conservative politician to occupy the White House in fifty years, a person whose entire political philosophy was built around the single idea that private individuals and private markets could solve nearly every problem of poverty, unemployment, and injustice if government would just stop meddling in matters that were not its proper concern. Reagan's domestic agenda, accordingly, was dominated by a simple

På tal om mutor Jacobsson, Katarina; Wästerfors, David 2003 Link to publication Citation for published version (APA): Jacobsson, K., & Wästerfors, D. (2003). På tal om mutor. (Förebyggande metoder mot ekobrott : en antologi ( Rapport / BRÅ)). Brottsförebyggande rådet (BRÅ).

Öz 16. yüzyılın ikinci yarısında sömürgecilik faaliyetlerinin beraberinde getirdiği sermaye birikimi kapitalizm adıyla anılacak olan yepyeni bir ekonomik sistemin doğuşuna kaynaklık etmiştir. Kapitalizm Batı Avrupa'da ortaya çıkmıştır. Ancak kısa süre içinde tüm dünyayı etkisi altına almıştır. Kapitalizmin değişmeyen nitelikleri yoğun sermaye birikimi ve kâr arayışı, yeni uluslararası pazarların, teknolojilerin, ürünlerin ve üretim örgütlenmelerinin inşası, bu süreçlerin yol açtığı kaygan ve belirsiz ekonomik zemin, görece güçlü devletlerin varlığı ve beşeri sermayedir. Bu makale kapitalizmin klasik teorisyenleri olan Adam Smith, David Ricardo ve Karl Marx ile günümüzün en önemli teorisyenlerinden olan Immanuel Wallerstein'ın kapitalizm teorilerinin, kapitalizmin doğuşundan bu yana değişmeyen temel nitelikleri üzerinden karşılaştırmalı bir analizini konu edinmektedir. Adam Smith kapitalizm teorisinin temeline değişmez bir insan doğasını, yani homoeconomicus'u koyar ve kapitalizmi emek değer teorisi üzerinden açıklar. Benzer bir bakış açısını David Ricardo da benimser. Ancak onun emek değer teorisinde kâr oranlarındaki düşme eğilimi kaçınılmaz olarak kapitalizmin sonunu getirecektir. Marx da kapitalist toplumları kendi emek değer teorisi üzerinden analiz eder. Ancak homoeconomicus'un yerine emeğin ve insanın toplumsallığını ve tarihselliğini koyar. Emek ve sermaye arasındaki uzlaşmaz çelişki kapitalizmin sonunu getirecektir. Wallerstein'a göre ise kapitalizmi kapitalizm yapan olgular sermaye ve kârdır. Kapitalizm, sermayenin uluslararası ekonomik ilişkiler aracılığıyla çevre ülkelerden merkeze aktarılması temelinde işler. Adam Smith'e göre sermaye birikiminin ve refahın sınırsız zenginleşmesi mümkündür. Ancak diğer üç teorisyen açısından kapitalizmin geleceği karanlıktır.

Kapitalist sistemde medyanın, asli işlevi olduğu varsayılan kitlesel iletişimi gerçekleştirme rotasından ayrılarak, kapitalist ideolojinin yeniden üretilmesinin aracı haline geldiği ve medya mesajlarına maruz kalanların nesneleştirildiği tezi, eleştirel iletişim kuramlarının belkemiğini oluşturmaktadır. Bu tezi üreten kuram ve kavramların eleştirel yaklaşımla tartışılması sayesinde, kapitalizmin kitle iletişimini ideolojik, siyasal, sosyal, toplumsal ve ekonomik alanlarda hegemonya inşa etmek için kullandığı bir alet çantasına dönüştürme sürecini anlamak mümkün olmaktadır. Bununla birlikte bu çalışmanın sorunsalı, geleneksel basın dönemi için özellikle Marksist kuramcıların üzerinde durduğu “izleyici emeği” olgusunun, günümüzün baskın iletişim biçimi olan dijital kitle iletişim araçları için anlamı ve bu araçların sahibi olan sermaye tarafından değerlendirilişini saptamakla ilgilidir. Bugün milyarlarla ifade edilen abone sayısıyla küresel-yerel reklam piyasasını kontrol ve domine edebilecek hacme ulaşan finans-kapital mülkiyetindeki dijital medyanın kullanıcılarıyla ilişkisinin niteliğini saptamak bu tartışmayı zorunlu kılmaktadır. Çünkü özellikle sosyal medya platformlarında hem içeriği oluşturan hem de oluşturulmuş içeriği tüketen, böylece tüm mecrayı yeniden üreterek devamlılığını-yaygınlığını sağlayan ve bu platformların sermaye birikim modelini işler kılan en önemli üretici birim olmasına karşın kullanıcı, yarattığı artı değerin karşılığında maddi bir kazanım elde etmemektedir.
Bu bağlamda bu makalede, öncelikle izleyici emeğinin karşılığının ödenmesi gereken üretici eylem niteliği açıklığa kavuşturulmaya çalışılmaktadır. Birinci bölümde, Dallas Smythe’ın “izleyici metası”, Sut Jhally ve Bill Livant’ın “izleme edimi”, Maurizio Lazzarato, Michael Hardt ve Antonio Negri’nin “maddi olmayan emek” ve Christian Fuchs’un “dijital emek” kavramlarından yararlanılarak emek-medya ilişkisi yorumlanmaktadır. İkinci bölümde, vasıflı-vasıfsız tüm bireylerin pazarlama süreçleri için kullanılabilecek metalara dönüştürülmesi sürecinde dijital teknolojilerin üstlendiği rol Philip Kotler’ın “Pazarlama 5.0” çalışması çevresinde ele alınmakta ve bu durum Harry Braverman’ın “emeğin vasıfsızlaştırılması” kavramı ile dolaylı ilişkisi bakımından sorgulanmaktadır. Son bölümde ise dijital medyanın yalnızca kullanıcı olarak doğrudan maruz kalanları değil, bununla birlikte tüm insanlığı “Büyük Veri”nin ücretsiz hammaddelerine dönüştürdüğü iddiası tartışılmaktadır.

This study traces the embryonic beginnings of Goethe's major works to  his early pre-Weimar years. It argues against any notion  that the word 'Wanderer' is a convenient tag or blanket term for it became the center of contention and debate once the Romantic movement had arisen. It follows L. A. Willoughby's thesis, put forward in his article 'The Image of 'the "Wanderer" and the "Hut" in Goethe's Poetry,' that the Wanderer represents the quest of the libido to be at one with the anima in a search that is reflected both in Goethe's letters and his life in accord with the principle of 'Wiederspiegelung.'

Among Marxism's core insights is that all history since the end of the primitive society has been a history of class societies and class struggle. Art does not arise in a vacuum; it is an integral part of the historical process and of human comprehension of the world. Therefore, the most appropriate way of reaching the core of a work of art is to understand it in the context of the time in which it originates and the social forces of that epoch. With Shakespeare an art arises that is historically self-aware, conscious that the reality it represents is historical. Historical change is rooted in Shakespeare's plays. They are built around a historical conflict. The task of interpretation-in both theatre and criticism-is to grasp this basic conflict. Any serious attempt to comprehend Shakespeare's plays is to understand the time from which they come, the late Renaissance, early 17th c England: the early modern period as a time of epochal upheavals, the formation of the first phase of bourgeois society in which Shakespeare's theatre originates. In his tragedies, Shakespeare presents the fundamental conflict of opposing historical forces that arose after the collapse of the medieval world and the rise of the early bourgeoisie. These opposing forces within the bourgeoisie-in terms taken from the Renaissance-are humanism and Machiavellianism; humanism in the sense of an Erasmus of Rotterdam and Thomas More, Machiavellianism after Niccolò Machiavelli, author of The Prince, the famous breviary on gaining and retaining power.

Ο τίτλος για την αμφισβητούμενη ιδιοκτησία του σώματος (είναι και δεν είναι δικό μου) προϋποθέτει όχι μόνο τον κοινωνικό και ιδεολογικό χαρακτήρα του σώματος, αλλά διαγράφει και την οπτική μέσα από την οποία θα προσεγγιστούν τα κείμενα του Πέτρου Πικρού.

Η οξύτατη κοινωνική κριτική ενός αριστερού συγγραφέα δεν συντελείται μόνο μέσα από την αρθρογραφία, την μυθιστορηματική βιογραφία, την δημοσιογραφία, το λαϊκό ανάγνωσμα αλλά και μέσα από τον μυθοπλαστικό λόγο στην ζοφερή υλική υπόσταση του σώματος, καθώς η σωματική παρακμή είναι, όπως θα δούμε, πρωτίστως κοινωνική παρακμή.

Άλλωστε οι κοινωνικές εγγραφές στο σώμα, οι προκαθορισμένοι ρόλοι, οι επαναλαμβανόμενες κινήσεις, ισχυρές και ανθεκτικές στην πορεία του χρόνου, οι λογοθετικές πρακτικές που διαμορφώνουν την κοινωνική σήμανση του σώματος αποτελούν αντικείμενο έρευνας σε ποικίλα πεδία εδώ και αρκετά χρόνια.

Καθώς ασκούνται πάνω στο σώμα εξουσίες από ένα αθέατο δίκτυο και καθώς αυτό που αποκαλείται «ψυχή» αποτελεί κατά τον Φουκώ ένα παλίμψηστο τεχνολογιών, γεννιέται μια υλική πραγματικότητα μάλλον μέσα από διαδικασίες τιμωρίας, επιτήρησης, κολασμού και βίας. «Η πειθαρχία είναι μια πολιτική ανατομία της λεπτομέρειας».

Εδώ το σώμα δεν εκλαμβάνεται ως μια ακύμαντη, υλική, αδιατάρακτη επιφάνεια πάνω στην οποία τοποθετείται ο κοινωνικός λόγος, οι σχέσεις εξουσίας κλπ. Δεν πρόκειται δηλαδή για ένα δυισμό ανάμεσα στο προ-λογοθετικό βιολογικό υλικό σώμα και στον επιφαινόμενο κοινωνικό λόγο μέσω του οποίου αποκτά την κοινωνική σήμανσή του. Αντίθετα, παράγεται από τις δυνάμεις αυτές, αποφυσικοποιείται και αποκτά (ή χάνει) τον λόγο εξαιτίας αυτού του δικτύου, του πλέγματος των τεχνολογιών, της μικροφυσικής της εξουσίας κατά τον Φουκώ.

Η πεζογραφία του Πικρού στοιχειώνεται από αμαρτωλά, παραβατικά και συγχρόνως ευπειθή σώματα, που λυγίζουν εύκολα προκειμένου να ανταποκριθούν στις πειθαρχικές και βίαιες τεχνολογίες της εξουσίας. Πρόκειται λοιπόν για την ανάδυση μιας «πολιτικής οικονομίας» του σώματος, μιας «μηχανικής της εξουσίας η οποία έχει την ικανότητα να επηρεάσει το ανθρώπινο σώμα, όχι απλώς για να εκτελεί εκείνο που θέλει, αλλά και για να ενεργεί σύμφωνα με τις βουλές της», για να κατασκευάζει, με άλλα λόγια, σώματα υποταγμένα και εξασκημένα, σώματα πειθήνια.

H βία, το πένθος, ο πόνος, η διαπόμπευση, ο αφανισμός και η αλλοίωση του σώματος αναδεικνύονται σε πρωταγωνιστικές μέριμνες. Αποκλείονται τα σώματα-τόποι μιας ανθηρής και ζωοδότρας ερωτικής επιθυμίας. Καθώς λοιπόν τα υποκείμενα μοιάζουν παγιδευμένα και αγωνίζονται με τις συνθήκες της ίδιας τους της ζωής, τις οποίες δεν μπορούν να επιλέξουν, θα έλεγε κανείς ότι τα περιθώρια διαφυγής και απόδρασης εκμηδενίζονται. Αν υπάρχει κάποια λειτουργία εμπρόθετης δράσης, ή ακόμα και ελευθερίας σε αυτόν τον αγώνα, αυτή επιτελείται στο πλαίσιο ενός πεδίου καταναγκασμών, οι οποίοι ταυτόχρονα παρέχουν δυνατότητες, αλλά και θέτουν περιορισμούς. Αυτή η ηθική εμπρόθετη δράση δεν είναι ούτε απολύτως προκαθορισμένη ούτε ριζικά ελεύθερη. Η νόρμα δεν παράγει το υποκείμενο ως αναγκαίο της αποτέλεσμα, ούτε όμως και το υποκείμενο είναι απόλυτα ελεύθερο να αγνοήσει τη νόρμα που εγκαινιάζει την αναστοχαστικότητά του. Σ’ αυτό ακριβώς το σημείο, σ’ αυτή την ρωγμή της εξουσίας τοποθετούνται πολλά από τα κείμενα του Πικρού.

Πρωταγωνιστούν οι στραγγαλισμένες και παραμορφωμένες ζωές, οι ζωές-απορρίμματα. Δεν πρόκειται για το γήρασμα του σώματος που είναι πληγή από φρικτό μαχαίρι. Δεν πρόκειται για τις πληγές μιας εξαίσιας ιδεώδους ομορφιάς. Κάθε φορά που ο Πικρός περιγράφει σώματα και μάλιστα εκπορνευμένα γυναικεία σώματα, διόλου δεν τα αντιμετωπίζει ως σώματα ηδονικά, προκλητικά εξαίσια, έτοιμα να σαγηνεύσουν. Παρελαύνουν πρόωρα γερασμένα σώματα με ωμές περιγραφές, που αποτελούν την αντίστροφη όψη στο ιδανικό της εύγραμμης και σφιχτοδεμένης σάρκας. Το πρόσωπο συνήθως αποτυπώνει την αποτυχία του μακιγιάζ. Ο αφηγητής προτιμά να εστιάζει στα αυλάκια που χαράσσονται από τα δάκρυα στην επιφάνεια μιας φθηνής πούδρας, στα μαύρα ρυάκια που χαρακώνουν τα μάγουλα και αναβλύζουν από τις σκιές των ματιών, προτιμά να αναφέρεται στον ιδρώτα και στην αποπνικτική μυρωδιά του σώματος.

Ο Πικρός ανέδειξε τη (γυναικεία) σεξουαλικότητα ως αιχμή του δόρατος στην μετωπική σύγκρουση με την κοινωνία της εποχής του. Αυτές τις σκοτεινές πλευρές δεν τις αντιμετωπίζει με την ειδεχθή απόσταση που επιβάλλει η αποστροφή, δεν τις αποκαλύπτει ούτε συνθηματικά ούτε καταγγελτικά αλλά ούτε και περιβεβλημένος με την άλω της εποπτικής τριτοπρόσωπης αφήγησης. Δεν μίλησε απρόσωπα, ανέθεσε τον λόγο, με ισχυρές δόσεις ειρωνείας για το αναπόδραστο, για την συντριβή της λαχτάρας. Πολλές φορές ο αφηγητής εμφανίζεται να συμπαραστέκεται στα θύματα της εκμετάλλευσης και να τα αντιμετωπίζει ως αδύναμα πλάσματα έρμαια στους πνιγηρούς, ασφυκτικούς και ταξικά ορισμένους χώρους των υπογείων.

Ο λόγος διατηρεί μια πνιχτή κραυγή μέσα από την εσωτερική εστίαση κι εδώ εντοπίζονται οι λυρικές στιγμές των αφηγημάτων· σε κείνες δηλαδή τις σελίδες που τα πρόσωπα αναλύονται σε δάκρυα, πενθούν αυτοί, τα χαμένα κορμιά, για τα χαμένα τους όνειρα, λαχταρούν να ξεφύγουν και θρηνούν γιατί ο κύκλος της συντριβής είναι αναπόδραστος.

Μέσα από αυτή την οπτική λοιπόν, η οποία ελπίζω να φωτίσει με νέο φως την ελάχιστα, άλλωστε, μελετημένη πεζογραφία του Πέτρου Πικρού, θα προσεγγιστούν κείμενα από τα Χαμένα κορμιά (1922) όπως «To πράμα», «Ξεμολογημένα», «Όταν οργά η Φύση», «Γολγοθάς», «Παριζιάνικα γλέντια», η ομότιτλη νουβέλα από το Σα θα γίνουμε άνθρωποι (1924), το μυθιστόρημα Τουμπεκί (1927) αλλά και το «Ράκη στον άνεμο», από τα τελευταία διηγήματα που δημοσιεύονται στη Φιλολογική Πρωτοχρονιά (1949). Έχουμε λοιπόν την δυνατότητα να παρακολουθήσουμε αυτή την κοινωνική εγγραφή στο σώμα και την ενσώματη κοινωνική βία σε ένα άνυσμα εικοσιεπτά (1922-1949) χρόνων.

Η ερμηνεία και η ανάλυση των κειμένων, σύμφωνα και με όσα προηγήθηκαν, μας δίνει τη δυνατότητα να υποστηρίξουμε τη θέση για τις περίτεχνες πολιτικές του σώματος που λειτουργούν με τρόπο ανάγλυφο και παραστατικό στην πεζογραφία του Πέτρου Πικρού.

This international conference of the DFG-funded research network "Model Aesthetics: Between Literary and Economic Knowledge" takes place at the John F. Kennedy Institute for North American Studies, Freie Universität Berlin (July 04-06, 2024). Organized by James Dorson (dorson@zedat.fu-berlin.de).
https://model-aesthetics.com/model-imaginaries/

When urban practitioners undertake local projects, they are often working not only to achieve material gains in economically distressed neighborhoods but also to promote democracy, cooperation, equity, justice, and mutualism. Yet the existence of this strong set of counterhegemonic principles uniting community land trusts, cooperative enterprises, and credit unions also creates tension around the question of how to scale them up and increase their impact. In this essay, Evan Casper-Futterman argues that community development organizations should redraw the current spatial-political boundaries separating sector-identified efforts in housing, finance, and workforce development-redefining their work around values. Scale, silos, and stalemate The theme of scale, both in the geographic and spatial sense and in the sense of magnitude, impact, and influence, is fundamental to just about every tactical and strategic decision in neighborhood and community politics and organizing. In 1976, Mo...

This article reads Hernan Diaz’s _Trust_ as a contemporary commentary on, and reimagining of, literature’s entanglements with capitalism, liberalism, finance, and law. Beginning with an outline of the history of legal and corporate trusts and connecting that history to the rise of the modern novel, the article spotlights the complex role played by the notion of trust in Diaz’s metafictional text. _Trust_ tells the story of a Wall Street financier, his philanthropist wife, and the ghostwriter of his memoir through a four-part structure, moving from a realist novel called "Bonds" through two memoirs and ending with a diary titled "Futures." This structure serves the aim, reaffirmed in Diaz’s interviews, of teaching his novel’s reader about the ideological implications of literary forms and about the kinds of power—financial and patriarchal—involved in turning reality into fiction. The article explores _Trust_’s revision of these forms and the ways in which its aesthetics forge an alignment among modernism, feminism, and financial expertise. Reflecting on the novel’s metacommentary on its own values and operations, the article concludes by asking whether Trust’s liberal pedagogy offers a persuasive alternative to the narrative forms it sets out to critique.

First we take a broad view of three areas in which 'Wanderer' is a key word, namely in the writings of Johann Wolfgang von Goethe,  in the German Romantic movement and in English Romantic poetry, noting obvious and less obvious connections between them. Next we will ascertain to what extent literary scholarship has covered  the areas already mentioned and note wide gaps in this coverage. We then explore possibie ways to redress exposed deficits  and consult  linguists who have relevant approaches to the questions before us.
Words derived from the verb 'to wander, most notably 'wanderer' were a prime feature of English literature long before the rise of Romanticism and anticipated its chief range of associations, with the night, the status of poetry and the borderline between life and death. The English Romantics were particularly sensitive to occurrences of words based on the verb 'to wander' in Milton's poetic works  as this article shows in the case of Byron's Don Juan. . Via the 1805 version of THE PRELUDE we might even be able to trace the path from 'I wandered lonely as a cloud' back  to the Muse of Horeb in PARADISE LOST.

https://www.academia.edu/34998977/Putting_two_and_two_together_Connections_between_Wordsworths_daffodils_and_the_opening_lines_of_The_Prelude

Against Mario DiGangi’s recent challenge to the feminist recuperation of (dis)empowered women in Richard III, I argue that the play builds up a sense of solidarity among the females by representing its gradual transformation. The competitive elite women in the play’s later part strike up a kind of melancholic solidarity with the shared experience of mourning, cursing, losing, and grieving. When they are empowered to communicate with each other and feel sympathy towards the others’
loss and pain, an alternative vision of relationship emerges against Richard and his cohorts’ frequent invocation of male friendship. As pitted against the Ricardian exploitation and mockery of friendship as a humanist ideal, I suggest, the female alliance of Richard III points to the limit-case of melancholic solidarity as a shared experience that would lend itself to a symbolic front of resistance without necessarily producing a sense of belonging or firm ground for identity.

Dijital emek, enformasyon toplumunun ana bileşeni olarak görülmektedir. Üretim ve dolaşımın günden güne dijital bir hal alması ve ağ mantığına göre biçimlenmesi, emek faaliyetlerinin değişimine sebep olmaktadır. Emek ürünü olarak varsayılan metalar, dijital içerikli hale gelmekte, üretim veya tüketim teknolojileri, en çok da medya endüstrisi, bu süreçte dönüşüm yaşamaktadır. Üretim, maddi olmayan emek üzerine kurulmakta, medya endüstrisi tarafından biçimlendirilmektedir. Sosyal ağlarda yaratılan içerik sistemleri maddi olmayan emek birikimi sonucu, medya endüstrisi tarafından işlenmekte ve kullanıcı verileri, maddi kaygı güden kuruluşlara satılmaktadır. Bu doğrultuda çalışmanın amacı, enformasyon ve dijital iletişim teknolojileri aracılığıyla değişen emek kavramının, sosyal medya çağında nasıl işlerlik kazandığına ve ticari kuruluşların bu emekleri ne şekilde kullandığına dair bilgiler sunmaktır. Literatür taraması yapılarak geliştirilen çalışmada; dijital emek kavramı ve gelişim sü...

В 1869 г. Ф. М. Достоевский обращал внимание своего многолетнего собеседника Н. Н. Страхова на одну примечательную особенность русской критики: Каждый замечательный критик наш (Белинский, Григорьев) выходил на поприще, непременно как бы опираясь на передового писателя <…>. Я хочу сказать, что у нас критик не иначе растолкует себя, как являясь рука об руку с писателем, приводящим его в восторг. Белинский заявил себя ведь не пересмотром литературы и имен, даже не статьею о Пушкине, а именно опираясь на Гоголя, которому он поклонился еще в юношестве. Григорьев вышел, разъясняя Островского и сражаясь за него [Достоевский: XXIX-1, 16]. 1 Практика выстраивания иерархии с гением во главе, по-видимому, не изначально присуща критике и зависит от множества факторов (эстетической ориентации, методологической установки, темперамента, амбиций критиков и др.). В 1830-1860-е гг. к пересмотру устоявшихся и выстраиванию новых иерархий по разным причинам менее склонны были Н. Надеждин, И. Киреевский, П. Анненков, В. Боткин, Н. Добролюбов. Бóльшее внимание этому уделяется в статьях Н. Полевого, А. Дружинина, К. Аксакова и Д. Писарева. В нашей работе, подчеркнем, мы рассматриваем лишь тех критиков, у которых ранжирование носило системный характер, подвергалось рефлексии и, следовательно, составляет специфическую цель их деятельности.

The metaphorical phrase, "poetic alchemist", serves as an apt description of the literary virtuosity of William Shakespeare, invoking the ancient pursuit of alchemists to transmute base metals into noble ones like gold. Such a depiction of Shakespeare amply recognizes his unique capacity to manipulate language, fashioning commonplace words into phenomenally expressive and compelling phrases. This is a form of literary alchemy, exposing a transcendent mastery of language that transforms the ordinary into the extraordinary (The Poetry Foundation, n.d.).

And where are we now, after thirty years of the most intensive woman-centered activity that the world has ever known? From the 1960s onward, as women met and marched, raised their consciousness to new heights and explored their inner depths, the social and personal ferment they experienced was only comparable to the painful and protracted struggle for the vote. But this was no longer a single-issue campaign. Women were aiming at nothing less than changing the world. Remarkably, they have made enormous progress with this aim. This brief, striking epoch has seen women making more gains than they have in thousands of years. In recent times women have won the right to education and to civic emancipation, entry to the professions, to government, to the military, to the Church. The social revolution has brought economic power, equal opportunities, the vote, the bra, abortion rights, tampons and pantyhose. Twentieth-century women have climbed Everest, walked in space and put a ring around the moon. They have become fighter pilots, supreme court judges and captains of industry. They have run countries and companies, handling billion-dollar budgets as confidently as they handled babies in former times. This surge forward has ushered in an era of huge change for all, for every man and woman and all those around them. This is in contrast to previous advances for women that tended to be by individuals alone, so that the success of the first woman doctor, for example, was slow to help along the rest of the sex. We have come of age in an era in which women's solidarity has never been stronger, and from this has flowed some famous victories in our time. And the removal of some of the ancient and blatant injustices against women has served to con-[ 8 ] • Introduction of the savageries of the past, reborn in new guises. We cannot evade the central paradox that at a time when life is getting better for so many, some have taken the opportunity to make things so much worse. Unparalleled levels of material and technical advance have given birth to unimaginable perversions and the sadistic abuse of power, with women on the receiving end as they have always been. One example (but a dreadful one) must suffice. In China and India, the drive toward population control has produced new and horrific waves of the killing of baby girls, both living and unborn. Fifteen years ago I and many others were protesting that the amniocentesis test, devised to promote the birth of healthy babies, was being widely used to abort unwanted females, noting that in the year 1984-1985, 16,000 female fetuses were destroyed in one clinic in Bombay alone. As the new millennium is born, the open and unashamed demand of these unreconstructed patriarchies for sons, their eternal valuing of boys over girls, continues and indeed increases unchecked. Elsewhere in the East, as women struggle for education and autonomy, male judiciaries validate the so-called "honor killings" as acceptable in law, reasserting the ancient right of every husband to kill an adulterous wife, a pregnant teenager or even a wife suspected of being adulterous. Latterly in Pakistan and some of the Arab states, this has extended to a "dishonored" sister, mother or stepmother, too. Genital mutilation remains the fate of millions of African girls, while in Kuwait, women are still denied the vote. In Saudi Arabia, women who step out of line are subject to cruelty, torture, and death. In Afghanistan, the hideous Taliban have instituted a vicious war against the entire sex, driving women out of jobs and torturing and killing them for supposed infractions of their religious laws-laws harsher than those the Nazis imposed on the Jews during the Holocaust. But then women, like the Jews of the past, are deemed nonpersons under systems such as these. Throughout the non-Western world, laws of recent standing restate a belief formed almost two thousand years ago, that the testimony of one man outweighs that of four women or more. And if twentieth-century woman has been free to become Jiang Q'ing or Indira Gandhi, she has also been ripe for the spectacular fall and punishment these two faced, the life sentence in solitary confinement, the bullet in the guts. One of the lessons of these women's lives has been to dispatch forever the idea that "the feminization of poli-[ 24 ] • In the Beginning portionately large in this line, and can truly afford to feel himself lord of creation in the penile particular. And he owes it to woman. Quite simply, when femina aspiring to be erecta hoisted herself onto her hind legs and walked, the angle of the vagina swung forward and down, and the vagina itself moved deeper into the body. The male penis then echoed the vagina's steady progress, following the same evolutionary principle as the giraffe's neck: it grew in order to get to something it could not otherwise reach. 16 This need also dictated the uniquely human experimentation with frontal sex. The future of the species demanded that man gain entry somehow. But the ease with which most couples move between frontal and rear-entry positions during intercourse is a constant reminder of the impact of woman's evolutionary biology. The biology of woman in fact holds the key to the story of the human race. The triumph of evolution occurred in the female body, in one critical development that secured the future of the species. This was the biological shift from primate oestrus, when the female comes on heat, to full human menstruation. Although generally unsung, indeed unmentioned, female monthly menstruation was the evolutionary adaptation that preserved the human species from extinction and ensured its survival and success. For female oestrus in the higher primates is a highly inefficient mechanism. The great female primates, chimpanzees, gorillas and orangutans, come on heat rarely, and produce one infant every five or six years. This puts the whole species dangerously at risk of extinction, and the great apes today survive only in small numbers and in the most favorable environments. With twelve chances of conceiving in every year, instead of one every five years, the human female has a reproductive capacity sixty times higher than that of her primate siste Menstruation, not hunting, was the great evolutionary leap forward. It was through a female adaptation, not a male one, that "man" throve, multiplied and conquered the globe. And female menstruation was not merely a physical phenomenon like eating or defecation. Recent commentators have argued that women's so-called curse operated to cure not only man's shortage of offspring, but also his primeval mental darkness. In their pioneering work on menstruation, The Wise Wound, Penelope Shuttle and Peter Redgrove stress the connection made in primitive societies between

Black Shoals/Black-Scholes In the late 1960's and early 1970s, at the University of Chicago, within the frame of that institution's particular and foundational contributions to the development and refinement of neoliberalism, two mathematicians, Fischer Black and Myron Scholes, constructed a model for understanding the dynamics of a financial market containing, and increasingly dominated by, derivative instruments. In finding a way to measure the risk of a deal within the time frame of the deal, investors were allowed to hedge their bets on the bets that other investors made, thereby allowing this cascading structure of hedged bets and externalized risks to constitute a category of commodity all its own.

СОЗИНА Е. К. Уральский федеральный университет им. Первого президента России Б. Н. Ельцина Ф. М. РЕШЕТНИКОВ В ОЦЕНКЕ РОССИЙСКОЙ И РЕГИОНАЛЬНОЙ ПРЕССЫ (XIX-начало ХХ в.)* Рассматривается оценка творчества известного уральского писателя Ф. М. Решетни кова в отечественной критике XIX-первых десятилетий ХХ в., публиковавшейся главным образом в периодических изданиях. Выделяются различные подходы критиков к Решет никову: биографический подход, оценка нового художественного метода («народный реа лизм»), определение своеобразия писателя через этноидентичность его самого и героев. В советскую эпоху Решетников становится первым писателем, выразившим интересы рабочего класса, и к нему активно применяются социологические методы анализа. Ключевые слова: биографический миф, критическая интерпретация и оценка, социо логический подход. Sozina E. K. F. M. Reshetnikov in Russian and regional press (XIX-the beginning of XX Century) The assessment of creativity of the famous Ural writer F. M. Reshetnikov in domestic criticism of the 19th-the first decades of the 20th century is performed. There are various approaches of critics regarding Reshetnikov's works: the biographical approach, evaluation of the new artistic method («folk realism»), the definition of the identity of the writer through his ethnic identity and his heroes. In the Soviet period, Reshetnikov became the first writer to express the interests of the working class, and sociological methods of analysis are actively applied to it.

В статье поставлена задача показать роль Н. А. Некрасова в утверждении на литературном поприще русской писательницы Лидии Филипповны Нелидовой (1851-1936), а также вернуть ее творчество в сферу интересов современного литературоведения. Достаточно плодовитая как литератор, Лидия Нелидова (ур. Королева) опубликовала целый ряд повестей и рассказов, выступала в роли публициста и переводчика, сотрудничала с рядом изданий дореволюционной России и состояла в переписке со многими выдающимися деятелями культуры. Особую роль в ее литературной судьбе сыграли ставший ее гражданским мужем В. А. Слепцов, а также И. С. Тургенев, Г. И. Успенский и Н. А. Некрасов. О начинающей писательнице Некрасов в 1875 г. узнал от Слепцова, который к этому моменту был его другом и постоянным сотрудником некрасовского «Современника», а затем «Отечественных записок». Познакомившись с детской прозой писательницы, Некрасов специально посетил ее, будучи проездом в Москве, и благословил на дальнейшие занятия литературой, пригласив ее при этом к сотрудничеству в «Отечественных записках». В статье приводятся фрагменты воспоминаний Нелидовой о событиях той встречи.

The article presents a detailed commentary on the place of the novel “Idiot”, in which the typological characteristics of the community of ordinary people are presented. The impossibility of change and development turns out to be the defining feature of this category, but it is no longer due to the table of ranks. An ordinary person, being a representative of the multitude, dreams not of reaching the cherished step in the official hierarchy, but of knowing by everyone what he initially does not have – originality. Belonging to a multitude of ordinary people, an ordinary person opposes himself to him, thereby declaring his inequality with him and at the same time equality with those geniuses of humanity with whom he cannot have equality by definition.

The gruesome events that occurred within the city walls provide the narrative and serve as the context for Dürrenmatt's play. The critical happenings of the Münster insurgency are hardly in dispute and can be summarized as follows: Spiritualists from the Netherlands traveled to North Germany in an effort to find co-religionists who were interested in withdrawal from the Roman Catholic Church. In their zeal for religious truth, they refused to join the Lutheran reform movement because it fell short of an authentic biblical faith that should, in their eyes, permit only adult baptism and establish communitarianism. Therefore, they contended that Luther was too selective in applying his principle of sola scriptura. And, they postulated, if Luther had been selective with those passages, how else might he compromise the faith in order to gain political expediency? Eventually, the united armies of protestant princes, the emperor and Catholic bishops amassed a sizable army and quelled the Münster revolution. Once inside the city, the victors discovered a populace that in the name of religion had endured horrific deprivation and physical suffering. In response, the conquerors were equally ruthless in punishing the leaders of the revolt. The ringleaders were tortured, killed and their bodies, as carrion for birds, were placed in large cages that hung from the spire of the St. Lambert Church. 2 These historical facts are seldom disputed but their interpretations vary. Many historians have assumed that the revolt in Münster was symptomatic of the terrorism that lurked in the heart of every Anabaptist. Therefore, Emperor Charles V, the German princes and bishops were justified in using their blanket policy of intolerance and suppression of this movement. Inadvertently, the Münsterites united the Lutherans and Catholics in a common cause: to stop fighting each other for the sake of destroying the Anabaptists.

The first question that arises in this study has to do with a minor point of interest, or so it may seem.. It concerns 'the Wanderer who enters the stage at the beginning of Act V in Faust Part II, not that any member of the audience would be able to connect  this stage character with the term 'Wanderer,' confined as it  to the margin of the play's script. Only the reader of this script could make the said connection. So is Faust Part II primarily a play or a written text like a novel or long poem? It is this question that is paramount over and above any issue of plot or narrative.

Sosyal medya araçlarının gelişimi ve internet erişiminin küresel çapta artışı, reklamcıların sosyal ve dijital medya kullanımına yönelmelerinin temel sebepleri olarak gösterilebilir. Gerek uluslararası gerekse yerel reklamcılar, pazarlamaya yönelik kaynaklarını dijital pazarlama uygulamalarına yönlendirmekte ve bu eğilim; internet pazarlamasına ayrılan bütçenin geleneksel medya kanallarının kullanımına karşı giderek yükselen payı ile örtüşen bir tablo ile sonuçlanmaktadır. Bu çalışmanın amacı; doğru hedef kitleye ulaşma noktasında sosyal medya reklamlarının etkisini geleneksel reklam araçlarının etkisiyle karşılaştırarak, sosyal medya reklamlarının avantajlarını tespit etmektir.