Postmodernism (Literature)

Jeffrey Williams has convincingly demonstrated that “the critical interview has emerged as a major genre in literary and cultural studies,” and to support his claim, he has shown how a wide array of journals “have run more than three hundred such interviews, and several have made them a regular feature.” Williams would certainly know the importance of the critical interview, as he is well known for his more than ninety interviews with famous critics, writers, and philosophers. Williams’s work is crucial for interview studies. While Williams was conducting some of his work on the “critical interview,” another type of interview was taking shape. Biofiction is literature that names its protagonist after a real person, and as a literary form, it has baffled some of the most adept scholars and intellectuals. To clarify what biofictionalists actually do, Michael Lackey interviewed a number of authors of biofiction, which resulted in his book Truthful Fictions: Conversations with American Biographical Novelists. That book did so well that Bloomsbury commissioned another volume of interviews, this time with biofictionalists from across the globe. That book contains interviews of scholars from multiple countries with luminaries like Olga Tokarczuk, Rosa Montero, Colum McCann, David Lodge, Laurent Binet, and Barbara Chase-Riboud. There might be some differences in the approaches and objectives of Williams and Lackey to the interview, but there are many deep-level similarities. In this panel, contributors, who are either or both practitioners or theorists of the interview, will discuss the history of but also theorize the literary interview, clarifying its value for academia more generally.

This is a copy of my tenure lecture at the Department of English and Comparative Literature of the University of the Philippines on February 2015. It discusses Filipino diasporic novels from two Filipino diasporic women writers, Gina Apostol and Jessica Hagedorn. It explores the use of the postmodern theories of Linda Hutcheon's historiographical metafiction, and how the marginalized are able to revise monolithic history and literature through historiographical metafiction. This paper shows how Filipino women are able to resist patriarchal and/or authoritarian histories and literatures through these metafictional strategies.

Целта на овој труд е претставување, карактеристики и начини на користење на Корпусот на јазикот на македонските изучувачи по англиски и германски како странски јазици кој има за цел да собере најмалку 500.000 зборови на функционален јазик од македонските изучувачи на странски јазик (англиски и германски), во форма на писма, е-мејлови, вклучувајќи и барања на информации, барање помош, покана, одбивање, извинување, писма на изразување благодарност, прераскажување на настани, празници, искуства, опишување на места, згради, луѓе, пејсажи; аргументативни есеи; Прашалникот за пополнување на дискурс; играта по улоги и сл. Корпусот ќе ги покрие нивоата А1-С2 и ќе овозможи податоци според варијаблите: возраст, пол, мајчин јазик, образование, ниво на познавање на јазикот, години на изучување англиски/германски, изложеност на Ј2 (престој во земја каде англискиот и германскиот јазик се зборуваат, колку долго и сл.), дали личноста зборува друг странски јазик и колку добро. Јазичниот корпус се со...

شهد العصر الحديث تحولات جذرية غير مسبوقة شملت بنيات الثقافة، وأطر المعرفة، ومنظومات القيم. حيث ساهمت العولمة بشكل رهيب، مدعومة بالتطور التكنولوجي المتسارع، في إعادة تشكيل الوعي الجمعي بصورة عكسية، وتغيير طبيعة العلاقات الاجتماعية، وأنماط التفكير، ومقاييس النجاح، وحتى معايير النجومية.
لم تعد القيم التي حكمت الفضاء الثقافي في مراحل سابقة كالأصالة، والعمق، والجدارة، والإبداع، والمسؤولية الأخلاقية هي المحك والمعيار، بل أُزِيحت لصالح قيم جديدة تتسم بالسرعة، والتداول اللحظي، والانتشار الجماهيري، ولو على حساب المعنى أو الجودة. وفي خضم هذا السياق المأزوم، ظهر نمط من التفاعل الجماهيري والثقافي يتسم بالسطحية، والاختزال، والابتذال، حيث أصبح المشهد الإعلامي، مقتصرًا على القدرة على التأقلم مع منطق السوق وما يطلبه التافهون، ومعايير العرض والطلب الرمزي، أهم من أي مضمون معرفي أو رؤية نقدية، أو إبداع إنساني أصيل.

This article discusses Walter Benjamin's theory of temporal mimesis, developed in Doctrine of the Similar, seeking to describe the rhythm with which "similarities erupt from the flow of things." Its goal is to demonstrate how the rhythm of this mimesis, while open to chance, is that of the anticipated future, whose visible presence today is just like the tip of an iceberg. This temporal relationship is discussed in dialogue with approaches by Claudia Caimi and Patricia Lavelle, in addition to the writing theory of Anne-Marie Christin. Finally, temporal mimesis is related to three object poems and an action spectacle by the poet Joan Brossa.

O ensaio aborda questões a respeito do trabalho com relatos, documentos e arquivos a partir das obras “O conto da aia” e “Os testamentos”, da autora canadense Margaret Atwood. Os dois textos recebem uma espécie de apêndice na forma de “notas históricas” aos romances, em momentos situados no futuro e no qual praticantes de “Antropologia Caucasiana” interpretam o material deixado por personagens femininas. Há nessas passagens uma importante crítica na forma de uma representação do trabalho com arquivos pelas ciências humanas. Defendo que o problema da representação, constitutivo da antropologia reflexiva, se atualiza com a leitura da obra de Atwood, a que trato tanto como uma forma de “antropologia especulativa” (Nodari, 2015) quanto a expressão de uma “antropologia reversa” (Wagner, 2017).

Апстракт: У раду се разматра могућност примене интегративне наставе приликом обраде романа Сеобе Милоша Црњанског. У уводном делу рада дат је осврт на значај међупредметног повезивања, истраживачког приступа и иновативних облика наставе у образовној пракси средње школе. Средишњи део рада садржи пример обраде књижевног дела интегрисањем српског језика и књижевности, историје, социологије и психологије. Детаљније су дати истраживачки задаци из српског језика и књижевности и начини на који се књижевно дело повезује са тематским областима из наведених предмета. Обрада наставне јединице кроз интегративну наставу подразумева и примену савремене информационо-комуникационе технологије. У завршном делу указује се на предности и недостатке овог вида наставе. Циљ рада је да се практичним примером допринесе интензивирању примене иновативних модела наставе. Кључне речи: интегративна настава, иновације, међупредметно повезивање, истраживачки приступ, роман. Богатство уметничког света романа Сеобе Милоша Црњанског провоцира методичаре да роману приступе применом иновативних наставних метода као и савремене дигиталне технологије. настоји се да се применом иновативних метода настава српског језика и књижевности приближи сазнајним потребама ученика 21. века, на које традиционалне наставне методе не делују подстицајно. Циљ овог рада је да се примером обраде романа Сеобе, који је веома захвалан за интеграцију наставних предмета Историје, Социологије, Психологије (у медицинским школама Психијатрије) и Српског језика и књижевности, укаже на шире могућности интеграција у образовној

Апстракт: У раду се разматра могућност примене интегративне наставе приликом обраде романа Сеобе Милоша Црњанског. У уводном делу рада дат је осврт на значај међупредметног повезивања, истраживачког приступа и иновативних облика наставе у образовној пракси средње школе. Средишњи део рада садржи пример обраде књижевног дела интегрисањем српског језика и књижевности, историје, социологије и психологије. Детаљније су дати истраживачки задаци из српског језика и књижевности и начини на који се књижевно дело повезује са тематским областима из наведених предмета. Обрада наставне јединице кроз интегративну наставу подразумева и примену савремене информационо-комуникационе технологије. У завршном делу указује се на предности и недостатке овог вида наставе. Циљ рада је да се практичним примером допринесе интензивирању примене иновативних модела наставе. Кључне речи: интегративна настава, иновације, међупредметно повезивање, истраживачки приступ, роман. Богатство уметничког света романа Сеобе Милоша Црњанског провоцира методичаре да роману приступе применом иновативних наставних метода као и савремене дигиталне технологије. настоји се да се применом иновативних метода настава српског језика и књижевности приближи сазнајним потребама ученика 21. века, на које традиционалне наставне методе не делују подстицајно. Циљ овог рада је да се примером обраде романа Сеобе, који је веома захвалан за интеграцију наставних предмета Историје, Социологије, Психологије (у медицинским школама Психијатрије) и Српског језика и књижевности, укаже на шире могућности интеграција у образовној

This paper critically analyzes the fictional representation of historical events and individual experiences in the pre-and post-independence India in Salman Rushdie's Midnight's Children (1981) in the light of postmodernist theory. It examines how the novel demonstrates an intricate relationship between history and individual and question and subvert the underpinnings of Indian history in order to provide a more complex, multiethnic, multilingual, pluralistic, and heterogeneous image of the nation's history, culture, identity, and tradition. With its self-referential, self-reflexive, subversive, transgressive, and meta-historical narrative, the novel destabilizes the absolute, authentic, and holistic historical real, truth, knowledge or identity which are represented by dominant power and knowledge systems i.e. 'metanarrative.' In problematizing the traditionally received and unquestionable version of historical truth preoccupied with a single and dominant perspective with universal meaning or truth, Rushdie's postmodern novel redefines history, providing an alternative historical truth by fusing historical with the individual. The prime focus of the paper is to unravel the problematic relations between history and fiction and the fusion of them which are represented from a diverse and multiple experiences or perspectives. By critiquing liberal humanistic approach and deconstructing, Rushdie's postmodern novel offers a fictionalized version of Indian history from the perspective of the marginal with its emphasis on cross-cultural mélange, liberal democratic values, diversity, plurality, multiethnicity, hybridity, and fluidity. The protagonist Saleem situates himself in a contemporary globalized world and opens himself to the possibility of the cross-cultural, mongrelized, and different versions of history of the country. His unreliable narrative dismantles the claims of pure, monolithic and authentic version of historical reality and emphasizes the paradigms of the decentred, fragmented, and pluralized notions of Indian culture, custom, language, religion, identity, and ethics. His postmodern narrative tends to historicize fiction and individualize history. It questions history and simultaneously makes a sense of historical events or reality. The history of the nation is individualized and fictionalized in which the interplay between individual self and collective self, history and fiction, private and public life and past and present are intertwined and integrated and dynamic and fluid in ironical, ambiguous, and ludicrous ways. The postmodern theoretical approach is used in the paper.

Keywords: Postmodernism, Metafiction, Indian History, Individual, Chutnification, Self-Reflexivity.

تضمن العدد من مجلة الجوبة السعودية، العدد 89، خريف 2025، حوارا مفصلا حول مشروع في النقد الثقافي عند الدكتور عبدالرزاق  من سبع صفحات.
ينطلق من اللحظات الأولى لاختيار النقد مجالا  للبحث، إلى بناء مشروع نقدي في النقد الثقافي، يقوم على  التأسيس لإطار منهجي و مفهومي خاص.
أجرى الحوار الأستاذ ياسين حكان. فكل الشكر والتقدير  له ولكل القائمين على هذه المجلة الأصيلة.

The pedagogical tradition in English language teaching and classroom managements in the Bangladeshi colleges undervalue the use of communicative approach designed in the textbook English For Today: for Classes 11 &12, and hereby, fail to meet up the demand of building communicative competence among the students. Though the textbooks in the schools and colleges are designed on the basis of communicative approach, no significant improvement is found among the students. This issue initiates the present study to search for possible problems lying behind it with the assumption that the textbook is not being properly implemented in the classroom. Major objectives set for the present study are: to reveal whether the textbook is being implemented properly in the classroom situation; to point out whether all the tasks and activities included in the textbook are performed by the teachers and students; to discover if teachers' training has any influence on the techniques of using the textbook; and to find out if the present testing system influences the ways of using textbook in the classroom. A review of related literature which supports and justifies the research problem is given in the present study. Being a field research, the study concentrates on the classroom activities. Data have been collected through questionnaires and classroom observation method; and analyzed quantitatively. As the results show, the textbook is not properly implemented in the classroom. This paper ends with some recommendations for the NCTB, teachers and Examination authority for solving the problem.

Fictional narratives interact with the socio-historical context, bringing to the forefront themes that are often absent from the official public sphere. In this work, we analyze Margaret Atwood's "The Handmaid's Tale," along with its extensions—the eponymous series and the book "The Testaments"—to examine how this dystopian narrative engages with themes such as patriarchal culture. To this end, we provide an overview of the construction and maintenance of patriarchal narratives, understanding how restrictions on education and culture play a fundamental role in structural machismo and how the historical moment contributes to the resurgence of classic fictional works, situated within a contemporary context of discussion.

Celem niniejszego artykułu jest ukazanie, w jaki sposób nierównowaga w relacjach etnicznych na Wileńszczyźnie w dwudziestoleciu międzywojennym znalazła swoje odzwierciedlenie w treści "Kroniki wypadków miłosnych" (1974) Tadeusza Konwickiego. Wspomniane zagadnienie nie jest problematyzowane ani w opisie narratorskim, ani w wypowiedziach bohaterów (zgodnie z celami fabularnymi, które przyjął autor), stawiam jednak tezę, że pozostało widoczne na poziomie struktury – w charakterystyce postaci, w kierunku ich aspiracji, a wreszcie w kluczu nawiązywania przyjaźni i dobierania się w pary. W swojej analizie wydobywam i uwidaczniam te aspekty powieści oraz dowodzę postawionej tezy przy pomocy close reading – zależy mi na tym, by moje rozpoznania wynikały wprost z tekstu, stąd też rozbudowane przypisy zawierające cytaty z powieści.

"Concealed conflicts: Ethnic relations in the Vilnius Region in the interwar period in the light of historiography and their presentation in »Kronika wypadków miłosnych« by T. Konwicki". The article analyzes selected historical, documentary and literary narratives dealing with ethnic relations in the Vilnius Region, with a particular focus on Tadeusz Konwicki’s novel "Kronika wypadków miłosnych" (1974). Konwicki’s novel employs a polonocentric perspective, for which there are several possible reasons: 1) the writer sought to imply the contrast between an ecumenical Vilnius community versus the reality of World War II, filled with interethnic hatred, 2) Konwicki’s Polish background accounts for the choice of such a perspective, 3) for the writer who grew up there, the Vilnius Region was a place tragically lost and impossible to recover, which contributed to the mythologization of the area; 4) at the time Konwicki wrote the novel, the martyrological and xenophobic discourse was widespread, therefore the undertones of "Kronika wypadków miłosnych" seemed acceptable, 5) Konwicki may have wanted to achieve a form of compensation rather than recreate the reality of the time.

Salman Rushdie’s works often blend fact and fiction in a masterful way. By doing so, Rushdie’s magical realist texts present the contradictions of contemporary India and Indianness. Rushdie’s status as an immigrant to Britain but writing about the Indian sub-continent allows him to posit himself as both an ‘insider’ and an ‘outsider’ of both cultures. Rushdie’s hybrid identity as an Indian, now migrated to Britain, very well suits the technique of magic realism in order to raise voice for those who are marginalized because of their language, religion, caste, gender and nationality. This research paper attempts to analyze Salman Rushdie’s use of magic realist technique in his novel Shame. By using this technique, Rushdie successfully blurs the boundary between fact and fiction. This technique enables him to question the dominance of patriarchy, corruption and power and at the same time put a resistance to them. There are several magical elements in the novel which make it incredible. But, the setting of the novel strongly resembles modern-day Pakistan. Thus, the blending of magic and history makes the novel a true example of magic realist novel.

Bisogna essere onesti in un mondo artistico-letterario distratto e spesso in cattiva fede. Il maggiore poeta contemporaneo (non solo italiano) è Menotti Lerro. Da qualsiasi angolazione lo si guardi Lerro eccelle. Volendo restare alla poesia parliamo di 20 raccolte in 20 anni, ammirate e prefate dai maggiori critici nazionali (Serpieri, Squarotti, Testa, Cucchi, Neri, Pontiggia, Mangham e tanti altri) e chiaramente si tratta di un percorso di una qualità inventiva e culturale "ben rara nei nostri tempi (e anche in passato") per citare quanto affermato da Giorgio Bàrberi Squarotti.

Broadly speaking, both in his novels, Report to El Greco, The Fratricides, even Christ Recrucified, as well as dramas (e.g. Kouros, Melissa), the Greek writer Nikos Kazantzakis transfigures certain classic ancient paradigms. These relate in particular to conflicting situations, thus understanding the supremacy of several creators compared with the aspiration towards the perfection of some creatures, as the eternal dominance of the human substance. In other words, beyond the autobiographical configuration, though unacknowledged by the author, his writings bear the mark of an agony that is finally filled with serenity, corresponding to an ideal apathanatismos. Always referring to the heroes and demigods (Dyonissos, Theseu, Ariadne, Minotaur, etc.), this writer translates, on the one hand, paradoxically, the experiences of modern man into a classical, almost austere antiquity in a kind of reversible katharsis over time, and on the other he completes all the ancient protagonists with their modern features, and more with some personal characteristics. Therewith, the traditional and modernistic symbols, myths, or meanings are melted in an innovative (tehné) hermeneutic crucible, through which, either by a sustained struggle, or a sophisticated fight, new creatures as they are encountered in most Kazantzakian dramas are contrived.

This research paper explores how postmodern fiction can help us explain the rise of disinformation and conspiracies in the contemporary world, analyzing a couple of notable postmodern works.

The research begins by examining the characteristics of postmodern literature, and then proceed to analyze paranoia and conspiracies through Thomas Pynchon's The Crying of Lot 49 (1965). To better understand the novella, its characters, and its take on conspiracies in the capitalist world, the paper will rely on Jean Baudrillard's "Simulacra and Simulations." The paper will also explore postmodernism and films, such as Alan J. Pakula's All the President's Men (1972), that address the dissemination of conspiracies in a postmodern manner.

The Spring of 2013 saw the contributors to this special issue on "Poetry in Public Spaces" turn a seminar room at Lancaster University in a fairly remote part of Northern England into a meeting place. It was a special meeting place because the face-to-face encounter of participants, the interflow of different concepts, the elaboration of new ideas, and the careful construction of viewpoints were, in a way, self-reflective. It was a meeting place to discuss meeting places and the creative verbal constructs we call "poetry." It was in some ways a messy affair, because we each brought into play the inspirations and baggage acquired at previous meetings elsewhere: a commitment to antineoliberal resistance through the "Poetics of Resistance" network that had previously connected Ben Bollig, Constanza Ceresa, and Cornelia Grabner; an enquiry into possibilities of connectivity through poetry that underpins the project "Non-Lyric Discourse in Contemporary ...

This essay explores the intricate relationship between artificial intelligence and literature, situating current debates within a much longer genealogy of imagined automata, androids, and artificial beings. While contemporary anxieties surrounding ChatGPT and similar technologies often present themselves as unprecedented, the study argues that literary traditions have long anticipated and problematised the uncanny doubleness of the artificium. From Prometheus and the alchemical homunculus to Mary Shelley’s Frankenstein, Karel Čapek’s robots, and Isaac Asimov’s androids, literature has consistently interrogated the threshold between the human and the artificial. Drawing on Ernst Jentsch’s and Freud’s theories of the unheimlich, as well as Donna Haraway’s Cyborg Manifesto, the article shows how the perturbing familiarity of the artificial being reflects enduring cultural tensions between fascination and fear. Particular attention is given to the implications of generative AI for authorship and creativity. Case studies such as Jean-Noël Cuénod’s experiment with Aragon’s La Rose et le Réséda, Ammaar Reshi’s Alice and Sparkle, and Rie Kudan’s award-winning novel partially written with ChatGPT reveal both the potential and the profound limitations of machine-generated text. While AI can replicate coherence and mimic rhetorical structures, it lacks the capacity for genuine invention, empathy, or aesthetic nuance - qualities literature has traditionally privileged as markers of human authorship.
By situating current experiments within a continuum of literary representations of artificial beings, the essay contends that AI does not inaugurate a radical rupture but rather reinscribes a perennial oscillation between utopian promise and dystopian anxiety. Ultimately, literature provides a critical lens through which to assess AI’s cultural role: not merely as a tool of automation, but as a mirror reflecting human aspirations, anxieties, and the fragile boundaries of creativity itself.

Geetanjali Shree’s novel Tomb of Sand (2022) recently
won the International Booker Prize. The committee hailed
it as “an urgent yet engaging protest against the destructive
impact of borders, whether between religions, countries or
genders” (“Tomb Of Sand | The Booker Prizes”).
Frank Wynne, chair of judges of the International
Booker panel, felt captivated by the power, the poignancy
and the playfulness of this exuberant novel. The story, as
well as the milieu presented by the novel, is tragic, yet as
the award committee declared, ‘Rather than respond to
tragedy with seriousness, Geetanjali Shree’s playful tone
and exuberant wordplay results in a book that is engaging,
funny, and utterly original’ (“Tomb Of Sand | The Booker
Prizes”).
The novel is reminiscent of the tragedy of Partition of
the Indian Subcontinent. Though some critics consider it
a partition narrative about “two women: one mother, one daughter” who cross the border between India and Pakistan,
the novel also has several other dimensions. It is a
representative postmodernist metafiction that questions our
notion of realities and conventions. With the help of some
of the basic postmodern assumptions and concepts, this
article highlights the characteristic features of Tomb of
Sand (2022) that make it a postmodernist fiction.

L’articolo analizza le modalità narrative attraverso le quali Bambini bonsai di Paolo Zanotti mette in scena le conseguenze apocalittiche della crisi climatica. Il romanzo combina elementi stranianti, volti a rinnovare i modi della rappresentazione finzionale dell’Antropocene e la consapevolezza del lettore di fronte alla crisi ecologica contemporanea, a stilemi marcatamente regressivi e nostalgici. Esaminando alcune componenti formali – la focalizzazione infantile, il peculiare trattamento della temporalità, il riscorso a tropi e modi della tradizione, tra cui spicca il fiabesco – l’articolo si propone di dimostrare che in Bambini bonsai il racconto della natura sconvolta dai cambiamenti climatici passi attraverso un punto di vista obliquo, che consente di riflettere in modo complesso sull’Antropocene e in particolare di mettere in scena i sentimenti, sfaccettati e contraddittori, che la vita nell’era della crisi ecologica comporta.

This interdisciplinary project explored how fictional technological devices imagined by the science fiction writer Philip K. Dick could be reinterpreted and re-materialized through speculative design and transmedia storytelling.
Dick’s literary universe—marked by dystopian futures, artificial intelligence, and paranoid realities—was filled with imaginary machines and devices that functioned as both narrative tools and philosophical metaphors. Decades after their creation, can these speculative objects be revisited and brought into new creative contexts?
Bringing together researchers and practitioners from film studies, speculative design, digital humanities, and media theory, the project aimed to reconstruct and reimagine some of these fictional technologies. Through a series of collaborative workshops and critical design sessions, we investigated how abstract concepts—philosophical, existential, or political—could be transformed into concrete, meaningful artifacts.
More than a homage to Dick’s legacy, the project proposed new methodologies for creating narrative objects that question our evolving relationship with technology and fiction. It served as a laboratory for designing alternate futures, where imagination, theory, and material practice intersect.

Este artículo examina la presencia de la angustia existencial en la obra de Mario Levrero (1940-2004). Centrándose en el relato Gelatina (1968) y la novela El alma de Gardel (1996), este análisis observa las formas en que estas obras retratan la angustia existencial, —ya sea en la forma del avance incesante de una sustancia amorfa o en la falta de trascendencia de a un plano superior del ser—, con el fin de activar lo que Levrero
consideraba una angustia positiva que movilizara la imaginación del lector. Sostengo que esta angustia productiva es fundamental para la estética de estas obras, como lo es para las obras literarias de tendencia vanguardista. De esta manera, este artículo demuestra el potencial estético de la lectura de la obra de Levrero en el contexto de conmoción producido en la era contemporánea de la globalización.

PALABRAS CLAVE: Mario Levero, Gelatina y El alma de Gardel, Existencialismo, Vanguardia, Antropoceno.

This paper attempts to unravel how a comparative study of Margaret Atwood's Bodily Harm and The Blind Assassin presents before the readers the manner in which the dichotomies of ageism often coincide with those of sexism. Through these works, Atwood seems to suggest that a young woman's diseased body produces a higher societal discomfort by overturning truisms about youth, which is reflected in diseasemediated transformations of women's self-consciousness and patterns of social interaction in the novels. This paper also provides an analysis of the social unease and the fear of death that stems from the experience of disease and illness by addressing social intersection between disease, age and gender. It provides insights about how women's diseased bodies and illness experiences are treated by the medical establishment, and connects them with how Atwood highlights the gendered specificities of illness as a lived experience. The current study intends to generate greater sensitivity towards the issues it addresses and thus bring about social awareness through literary and cultural analysis.

Les Mythologies (1957) de Roland Barthes donnent une analyse des «malentendus» idéologiques intentionnellement induits et acceptés par leurs consommateurs. Ils sont d’une nature immanente, impersonnelle et dynamique, ce qui les rapproche des effets littéraires.

Because of its discoursive character, literature plays an actual role in the establishment and spread of the national stereotypes. Literature presents imagological views of different nations and ethno-stereotypes characterizing their national consciousness, i.e. evaluative views about other nations and cultures, which comprise an expanded scale of assessment -from extremely positive to extremely negative. The post-colonial Georgian literature presents two interesting literary processespost-colonial reflexion and post-colonial mythologisation. These processes are analyzed on the example of two novels -Chabua Amirejibi's Gora Mborgali (1994) and Otar Chiladze's Avelum (1995), which discuss imagological issues from an interesting angle and reveal post-colonial reflexion and mythologisation.

This essay explores the Shakespearean canon through the lens of Christian Moraru’s theory of rewriting, reframed within the Oxfordian hypothesis that attributes authorship to Edward de Vere, 17th Earl of Oxford. Drawing on Moraru’s notion of rewriting as a postmodern act of cultural critique and identity reframing, the essay argues that the Shakespearean plays, especially those rooted in Italian sources, can be read as a sophisticated form of intertextual self-fashioning. De Vere’s putative authorship, undertaken under the pseudonym "William Shakespeare," is interpreted as a strategic practice of concealment, transforming personal experience and political constraint into veiled narrative structures. Italian locations, borrowed plots, and themes of disguise and displacement become literary devices through which De Vere reconfigures both identity and authorship. Works such as Romeo and Juliet exemplify this layered rewriting, blending multiple sources into new textual configurations that obscure and encode the author's presence. In this view, Shakespearean drama emerges not as a singular expression of genius, but as a palimpsest of self-effacement, cultural translation, and aesthetic resistance.

انتهت ما بعد الحداثية في شكلها الأكثر نقاءً، بعد أن قتلتها العولمة؛ حيث أدى الانتصار الصريح للرأسمالية على كل أيديولوجية معارضة إلى انتشار ثقافة استهلاكية واسعة النطاق تتعارض مع أجندة الثقافة المضادة التي ميزت النموذج ما بعد الحداثي؛ وظهرت نظريات جديدة تقف فوق الجثة الهامدة، وتحاول تحديد النماذج الثقافية المتنوعة التي ظهرت مع الموت المفترض للنمط الثقافي ما بعد الحداثي، فيقترح العديد منها إعادة تقييم المبادئ الحداثية، بينما يقترح بعضها الآخر الانفصال التام عن النمط والانخراط في شيء معاصر تمامًا، حيثُ ظهرت هويات ثقافية جديدة، مع تركيز بعض المنظرين على مواضيع متنوعة مثل الذات الحبيسة، والاستقلالية الشبكية، ومشاعر مناهضة المؤسسية، أو موت التهكم الساخر، ومع ذلك، وفي حين يركز كل منها على تفاصيل متباينة، فإنها جميعًا تصف عناصر كلٍ أكبر يتلخص في فكرة: إننا نعيش في عالم مليء باليأس، ونحاول بإخلاص إحراز تقدم، حتى لو كان بلا هدف، وإننا نتوق إلى مستقبل أفضل، ولكننا نعلم أنه لن يأتي، وهذه هي توقعات بعد ما بعد الحداثية؛ عالم مليء بالقلق إزاء الحاضر يسعى بشكل محموم إلى الأمام والخلف لحل قضاياه.
وتمكن ملاحظة الرغبة الصادقة في تجاوز ما بعد الحداثية في مفهوم (الحداثية المتذبذبة) لتيموثيوس فيرمولين وروبين فان دان آكر من التعامل مع الواقع المعقد وتحديد مساحة للخيال، ونحن هنا سننضم إلى من يعتقدون أن الحداثية المتذبذبة هي الخليفة الأكثر ترجيحًا لمشكلة العرش الفارغ في مرحلة بعد ما بعد الحداثية، وهو وصف ثقافي مفصل ومحدد يتناسب بشكل وثيق مع ردود الفعل الملحوظة ضد الممارسات ما بعد الحداثية في الأدب والفن، وعلى هذا سنعرض هنا داخل هذه الدراسة قصة انتصارات ما بعد الحداثية التي كانت هي بالذات ما أودى بها في نهاية المطاف، ثم سنصف مجتمعًا يتأرجح على الحافة بين حداثتين، مع بإنتاج أدبي غزير ومتنوع ،كل ما يمكن استخلاصه منه، دون كبير جهد أو تعسف، ليس سوى ملامح الحداثية وما بعدها تتمازج لمنحنا أملًا وتفاؤلًا يحفزة العودة إلى اليقين والواقع والإخلاص، ويجري ذلك من خلال الاعتراف بالذات ممثلة بالمؤلف والشخصيات المؤمنة المقررة بشأن حياتها ومسؤولياتها؛ لب نظرية الحداثية المتذبذبة.

Bu çalışma, The Truman Show (1998) filmi üzerinden Hegel’in efendi-köle diyalektiğini incelemektedir. Film, bireyin gerçeklik algısı ve özgürlük arayışı bağlamında, Hegel’in tanınma, özbilinç ve emek kavramlarıyla paralel bir okuma sunar. Truman’ın kurmaca bir dünyada yaşadığını fark etmesiyle başlayan içsel yolculuğu, efendisi olan Christof’a karşı verdiği düşünsel mücadeleyle sonuçlanır. Analiz, edebiyat, sinema ve felsefe kesişiminde yer almakta; karakterler ve sahneler üzerinden disiplinlerarası bir çözümleme sunmaktadır. Bu bağlamda film, yalnızca bireysel özgürleşmeyi değil; aynı zamanda medya, gözetim ve sistem eleştirisini de tartışmaya açar.

Pós-moderno é o novo verbete que publicamos no Glossário Silviano Santiago. Escrito por Denilson Lopes (UFRJ), o verbete recupera o célebre ensaio “O narrador pós-moderno”, de Silviano Santiago, indicando que, para o crítico mineiro, o pós-moderno é uma chave de leitura que questiona os limites da tradição ocidental sem, no entanto, abandoná-la. Segundo Lopes, Silviano propõe uma nova experiência narrativa, marcada pela imagem e pelo corpo em movimento, que oferece uma vivência distinta da cultura letrada. A análise do romance Em Liberdade ganha destaque ao mostrar como Silviano reinventa a figura de Graciliano Ramos a partir de um corpo liberto, desejante e desviante, retomando a alegria da contracultura como força transformadora. Ora por meio dos ensaios, ora pela ficção, Silviano aposta na literatura como espaço para produzir novas experiências e levantar novas questões.
Organizado por Mario Cámara, o Glossário Silviano Santiago é publicado às quintas-feiras, com versões simultâneas em português e espanhol.

Com base em uma visão ecocrítica feminista, este artigo analisa
o romance Deuses de Pedra (2012), da autora britânica Jeanette
Winterson, como uma distopia feminista que retrata o Antropoceno
e suas urgências como um fio condutor de histórias trágicas que
se entrelaçam em diferentes espaços-tempos. Entendida como sf,
no sentido de equivaler à ficção científica, fabulação especulativa
e feminismo especulativo (HARAWAY, 2016), a narrativa de
enredo apocalíptico manifesta claras críticas às relações de opressão
capitalistas e patriarcais, expondo-as como responsáveis pelo rumo
catastrófico que a humanidade tomou, bem como especula sobre
as possibilidades de resistência para desestabilizar tais estruturas.
Partindo destes pressupostos, o estudo tem por base uma crítica
feminista fundamentada, sobretudo, nas reflexões de Silvia Federici
(2019), articulando as relações de raça, gênero e sexualidade na
constituição do modelo de exploração capitalista, além de observar
os efeitos que essas estruturas causam na natureza, por meio da
intervenção dos humanos.
Palavras-chave: Distopia feminista. Ecocrítica feminista.
Antropoceno. Jeanette Winterson.

The paper analyzes the novel People Without Graves by Enes Halilović. Following the fluctuation of Halilović's poetics and improving of his lyrical and prose oeuvre, we focus on the general features of his works that are evident in this novel as well. Next, we point out the distinctive elements that grant People Without Graves unique place. By providing an overview of the most significant characters and key narrative situations, we scrutinize the central thematic complex and the composition of the novel, both the graphically visible one, evident in the division of the novel into chapters, and the implicit one, pertinent to the relationships between the characters and certain leitmotif repetitions. Particular analytical attention is devoted to the analysis of style and the interpretation of the symbolism of the title and metapoetic elements in the novel. Ultimately, we point out the less refined and, consequently, artistically less successful segments of the work.

Keywords: Enes Halilović, self-knowledge, Semir, metapoetic elements, father, egg

Author(s): Fleishman, Kathryn | Advisor(s): Serpell, Namwali | Abstract: This project offers a feminist reconsideration of the postmodern aesthetic across a set of American fictions since 1945. From our current perspective, postmodernism is both overdetermined and undervalued; we limit our readings by equating its sheen and sparkle with irony, paranoia, and superficiality. I present an alternative to two longstanding default modes of interpreting the postmodern: the excavatory, hermeneutic model inaugurated by Fredric Jameson’s Postmodernism, and the poststructuralist model, which celebrates a seemingly infinite profusion of references and surfaces. My project’s impact is threefold: I demonstrate how feminism refashions the postmodern aesthetic, I reanimate a quintessentially postmodern language of surface and depth in terms of our current crisis of reading, and I show how feminism is uniquely equipped to supersede, though not erase, that binary. Drawing together new debates in femi...

During his early years, Paul Auster wrote three plays: Blackouts (1976), Hide and Seek (1976), and Laurel and Hardy Go to Heaven (1976/77). Those works, however, are still little known to the general public or to literary criticism. The play Laurel and Hardy Go to Heaven exhibits close similarities to the dramatic works of Samuel Beckett, who strongly influenced Auster’s development as a writer. This paper aims to reflect on the peculiar position of the play in Auster’s oeuvre and to highlight its significance by tracing the arc of his creative maturation, in order to substantiate how Auster adopted Beckett’s texts into his own writings, overcoming the anxiety of influence and discovering his authorial voice.

This volume offers readers a brief yet enriching journey into the interdisciplinary realm of captivating ideas articulated by Florentin Smarandache throughout his career. More than five decades ago, Smarandache embarked on a remarkable scientific and cultural odyssey, challenging established boundaries and redefining the connection between diverse fields of knowledge and creativity.
By blurring conventional lines, Smarandache’s work seamlessly bridges science, literature, art, and philosophy, creating a fusion that sparks innovation. His contributions stand at the intersection of exploration, where logic converges with imagination, and creativity propels new frontiers of thought.
Smarandache’s work transcends traditional disciplines, composing a creative symphony of knowledge that resonates across a large spectrum of human understanding. From groundbreaking theories in mathematics and physics to bold contributions in literature and the arts, his endeavor exemplifies the power of interdisciplinary thinking.
While this particular volume offers a glimpse into his multifaceted career, it is important to note that it does not fully capture the breadth of Smarandache’s contributions.
This book honors Smarandache’s 70th anniversary, celebrating his vast and multifaceted achievements—a visionary whose ideas continue to push the boundaries of what is possible when deep scientific knowledge and boundless creativity converge.

This article recalls the effaced presence of postmodern thinking as revealed in certain 18th century British women writers’ narratives that challenge the discursive authority of objectivist essentialism. In this regard, this article addresses how the focal narrative Mary (1788) by British feminist writer Mary Wollstonecraft contests the fixity and rootedness in the biological, scientific, and social accounts of essentialism. In particular, Wollstonecraft’s Mary articulates a narration of the forbidden that poses a challenge to the medically restrictive plots available in that century. Most importantly, Mary initiates a new genre that constructs a radical and subversive medical discourse by integrating “intimacy” defined as recognition of shared thinking and experience. “Intimacy” ultimately provides inoculation and preventive measures against medically essentialist stratifications, such as age, genetic heredity, normality, and abnormality. Such medical stratifications are solely determined by identity politics that stipulate legitimate and illegitimate relations. In general, Wollstonecraft’s Mary arguably suggests the notion of “intimacy” that becomes an early exegesis of Haraway’s postmodern understanding of “affinity” as a perception that is not determined by essentialist identity politics.

This study aims to explore how Ahmed Saadawi's work, an Iraqi
adaptation of Mary Shelley's, portrays violence as abjectness, as
outlined in the powers of terror. In this book, dismembered corpses
obliterated by explosions are aggregated to constitute a complete
body. Consequently, this image embodies its cultivated essence.
Instigating a confrontation to seek vengeance against the
individual who murdered and dismembered its corporeal form. In
research inquiries, the investigator assumes the role of the
monster, symbolizing an abject that embodies moral corruption
and the catalyst of mortality. Shelley and Saadawi distinctly
Reference the creature. While Shelley's Frankenstein creature is
devoid of human characteristics, it elicits sympathy; in contrast,
Saadawi's monster references terrorism and its destructive
powers. Saadawi's Frankenstein in Baghdad employs the violence
of war as a metaphor for the erosion of humanity, resulting in
individuals merging with a non-human existence, akin to a
monster. The essay employs a postmodern framework to analyze the
works of Saadawi and Shelley, focusing on the effects of Western
aggression and its dissemination objectives. The researcher will
conclude that individuals must renounce terrorism and its
consequences, along with all forms of hatred. Only then will
Violence and carnage come to an end. Furthermore, individuals
must cease endorsing Western terrorism and brutality to reclaim
their humanity.

As we know that often there exist a wider variety dialect of one language, due to such wide variety the same language may become incomprehensible for its different speaker to avoid such problem often one dialect or variety of language is chosen as the standard form of language. In simple words, Standard English is the variety of English which is considered to be correct in every sense and it is expected from the speaker of English to use their form. Standard English or for that matter standard language is debatable topic. There are various intellectual or scholars who do not favour the concept of standard language. It is obvious that standard language is the language of elite and powerful class and might become the tool of exploitation. Moreover, between the various dialects and varieties available it would not be natural to pick up one as a standard variety. But there are views that standard language is necessary or the different dialects of language will eventually evolve as different language and the source language will be lost, as is the case with parent Indo-European languages.

This paper aims at reconsidering aspects raised by criticism of Rachel Kushner’s The Mars Room (2018). While almost universally praised for its contents, the novel has been met with a more diverse response as far as its stylistic and narrative structures are concerned. By adopting a double methodology, grounded in traditional close reading and quantitative tools derived from corpus stylistics, this analysis addresses the issue of voice and perspective in Kushner’s novel in order to show how ultimately traditional their use is. These findings thus clash with previous views on The Mars Room, and they confirm the more aprioristically identifiable impact certain narratological features (such as focalization) tend to have on style when compared to broader notions like that of voice, which intrinsically involves a broader ‘field of action’ and is thus more problematic when it comes to quantification.

This study critically examines the presentations of white supremacy and racial discrimination in Doris Lessing's The Grass is Singing, focusing on the psychological, social, and economic impacts of colonialism in Southern Rhodesia. Through a detailed analysis of the characters, particularly Mary Turner and Moses, the study explores how Lessing critiques the colonial system by illustrating the destructive effects of racial hierarchies on both the colonizers and the colonized. The study employs post-colonial theory to unpack the themes of exploitation, dehumanization, and moral decay that permeate the novel. It also highlights common concerns about colonialism's lasting legacy. The findings reveal that Lessing's use of symbolism, narrative structure, and character development provides a powerful critique of the colonial order, with themes that remain relevant in contemporary discussions on race and