Literary Theory

Virginia Brindis de Salas, poeta afro-uruguaya nacida en 1916 y muerta . en 1958, fue la autora de dos libros de poemas: Preg6n de Marimorena {1946, reeditado en 1952) y Cien carceles de amor {1949). Su vida, de la que no se conocen muchos datos concretos, esta rodeada de controversias, especialmente en torno a la autorfa de su obra, que segU.n sugiere Alberto Britos Serrat en su Antologia de poetas negros uruguayos {1990), fue producto del plagio, posturaque rechaza Marvin Lewis. Algunos incidentes de su vida crean una atmosfera de dudas y misterio en torno a la escritora, . por ejemplo, Miriam de Costa Willis menciona que su primer poema, Mi corazon , lo publico en el diario If Accion de Melo, firmandose Iris Virginia Salas, y que luego tom6 el nombre Virginia Brindis de Salas. Otro hecho que plantea reservas es que en una charla que la poeta dio en Buenos Aires: #Mis dos tios ilustres - incorporada a Cien carceles de amor-, se proclama emparentada con Claudio Brindis de Salas, el...

Cari colleghi, vi ricordo l’appuntamento conclusivo del ciclo seminariale on-line “Il fantastico degli antichi”, organizzato da Giuseppe Feola e Pietro Li Causi, che si terrà il 14 aprile 2025 alle ore 18:00. Dopo un mio breve intervento di apertura, seguirà una tavola rotonda sul tema “Definire il fantastico. Come il presente legge il passato” in cui faremo una sintesi su quanto è emerso negli appuntamenti precedenti e ci confronteremo su come, quando e se si possa parlare di un vero e proprio “fantastico degli antichi”. Per registrarsi e partecipare, scrivere all’organizzatore Pietro Li Causi al seguente indirizzo di posta elettronica: pietro.licausi@unisi.it

The present work attempts an interpretation of Shakespeare's works under the main aspect of speech acts, language pragmatics and the thematisation of language action and its consequences in general. The aim is to develop a coherent overall interpretation of the plays from this partial aspect, also taking into account the subplots, which are often only seen as a reflection of the main plot, or other seemingly incidental comic scenes (comic relief). These speech acts are of course  conceivable in  the real  world, but  the  analysis  shows how they  are dramaturgically integrated into the respective plot or serve as material for Shakespeare's overarching themes, which run like a common thread through his work, i.e. in particular the presentation of the possibilities  and  dangers  of  language  itself.  Occasionally,  of  course,  such  speech  acts  also follow plotlines from the story of the drama, or speech acts are creatively taken up, for example, according to the pattern of the morality plays. However, they are always integrated into the overall structure of the play as meaningful for the language awareness of the audience and us
as readers. 
German version 2024.

The idea of narrative hybridity was central to the work of the Russian literary theorist Alexander Veselovsky (1838Veselovsky ( -1906)), particularly to his unfinished work Historical Poetics. For Veselovsky and the Russian theorists who followed him, including Mikhail Bakhtin and Yuri M. Lotman, the boundary rather than the center is the site of hybridization and thus literary and cultural transformation. This article argues that this model of hybridization on the border can point in the direction of a synthesis between the theoretical impulse of contemporary attempts to conceive of a world literary system, with their scale and their concern with models of circulation, and those of postcolonial criticism and creolization theory, with their focus on hybridization and literary and cultural transformation on the periphery and mistrust of centripetal accounts of literary and cultural history. The article examines how Veselovsky's account of the role of narrative tradition and narrative hybridization on the periphery demonstrates the potential of geographic borderlands and periods of historical transition and borderline genres and is a useful touchstone for the work of scholars arguing for the redefinition of traditional understandings of center and periphery in literary history.

This article argues for intertextuality as a critical and analytic method f argument first a critique on structuralism and deconstruction has been presented. that both these theories are not adequate Ferdinand de Saussure which is not sufficient to understand the nature of text, author and the society in which they take place. It has been argued on the contrary that the idea of dialogicality proposed by Mikhail Bakhtin does seem helping us to resolve the issues which cannot be tackled by both structuralism and deconstruction. dialogicality gives birth to intertextuality which, as a suggestion, should be adopted for literary and critical practices. In the end part of this article a study of the novel presented to make the idea of intertextuality clear and forceful.

Postoji nekoliko načina da se tzv. književni kritičar, ili komentator ili egzeget, pozicionira između pisca, tj. književnika, s jedne, i čitatelja, s druge strane. Kod nas je najčešći slučaj taj da se, u uvjetima vrlo primitivne robnonovčane razmjene, kritičar shvati i locira kao neka vrsta piščeva promotora, ili piščeve isturene borbene jedinice, za mađijanje i zavođenje publike u svrhu plasiranja tog kulturnog dobra na za pisca financijski najpovoljniji način. Ove su refleksije pisane pod posve drukčijom perspektivom. Ovdje književni kri čar, ili komentator, ili naprosto tvorac ovih redova, zauzima prije svega prostor između pisca i čitatelja, nastojeći sebe shvatiti oblikova kao i jedno i drugo....

Odrasli smo u istome gradu, pod sličnim okolnos ma. Nismo emigrirali. Djeca smo disfunkcionalnih obitelji unutar disfunkcionalnih društava. U Zenici imali smo is , izraženo ekološki problem. Nasreću bez većih posljedica po pluća. Obojica smo to liječili pušenjem, ja sam prekinuo, on još uvijek uživa u duvanu. Kretali smo se u skoro iden čnim krugovima. Kada si djete većega grada, imaš priliku da sebi izabereš malo bolje, privremene staratelje s kojima možeš razgovara o lijepim stvarima, npr. knjigama, pjesmama, pričama, teorijama; i tako možeš sebi lakše pomoći kada je pomoć potrebna, ali to ne želiš objavi javno. Dobio je ime po jednoj pjesmi Georga Trakla, velikog austrijskog pjesnika, An den Knaben Elis -Dječaku Elisu. To mi je po sebi bilo cool, činilo mi je njegovo ime pamtljivijim od ostalih, a uvijek mi je bilo smiješno i diskretno sukobljavanje sa tzv. širom zajednicom što ga je to ime nenamjerno i često mo viralo -naime, često su ga pogrešno imenovali kao 'Elvisa' jer im je njegovo zbiljsko ime zvučalo vjerojatno bajkovito ili nevjerojatno. Tu vidim i neki pramodel za njegov dar proizvodnje jako dobre fikcije -ime mu dolazi iz oblas fik vnoga, pjesničkoga diskursa, a lokalne percepcije nastoje to ime reducira i sves na nešto što je pozna je, ali zapravo mnogo fik vnije; tako nastaje drama koju on odigrava u životu na milijune različi h načina, ponekad sa jako zanimljivim rezulta ma.

Although Alexander von Humboldt is well known for his major impact on the development of new scientific knowledge and the rise of disciplines such as Geography and Ecology, his critical reflections on languages from a scientific point of view, as well as from an aesthetic perspective, still receive little attention. New research has shown that von Humboldt's writings on the languages of indigenous people may well be considered the beginning of anthropological-comparative linguistics. This article outlines the significance of von Humboldt's aesthetics of language in his own scientific texts. He explores the different dimensions of sound landscapes, combinating scientific description in prose and the sound of the indigenous terms. By this strategy, he connects different forms of "text islands" ('Textinseln') in order to create an intratextual web of knowledge archipelagos based on his concept of a science which refers to the senses ('sinnliche Wissenschaf...

Resumo Este artigo tenta repensar os fundamentos epistémicos do pensamento (sobre o) contemporâneo. Para além dos estudos de área, os Estudos de Transárea focam concepções móveis de espaços e territórios. Transcendendo os limites de uma história espacial, os Estudos de Transárea enfatizam o dinamismo de processos vetoriais capazes de desenvolver poéticas do movimento. Ultrapassando o alcance dos estudos comparatistas tradicionais, os Estudos de Transárea destacam os movimentos trans-fronteiriços, as relações múltiplas, assim como as estruturações polilógicas, que permitam novas concepções prospectivas no âmbito da cultura e da literatura.

1 "eingreifende Veränderung der allgemeinen Lebensvoraussetzungen". 2 "in ihrer ganzen Bedeutung erkennen". 3 See Meyer-Kalkus (unpublished paper). 4 "National literature has not much relevance today, the epoch of world literature is now dawning, and everyone should do what he can to accelerate its arrival". Metadata, citation and similar papers at core.ac.uk

Културната историја на градот Штип и неговата околина, благодарение на геоморфологијата на теренот, поволните климатски и географски услови, патните собраќајници кои поминувале и минуваат низ Штип, придонеле неговиот развој да започне од најдлабоката праисторија односно од доцниот палеолит и во континуитет низ вековите да трае се до денес. Во трудот ќе биде презентирана културната историја од палеолитот се до крајот на железното време, преку движни археолошки наоди и остатоците од праисториските објекти кои се присутни на праисториските населби: Грнчарица село Крупиште, Вршник село Таринци, Барутница село Анзабегова, Под Школо село Стар Караорман, Богослов Камен и Градиште Киево село Горни Балван и сектор Стара Кланица на Исар Штип. Клучни зборови: историја, праисторија, архитектура, населби, објект

Апстракт Запознавањето на младата популација со недвижното културно наследство во текот на основното и средното образование придонесува во зголемувањето на нивната перцепција кон културните општествени вредности. Но од особено значење претставува едукацијата во делот на заштитата на културното недвижното културно наследство со цел како би се негувале и зачувале таквите вредности кај таквата популација. Оттука и фокусот на трудот е насочен кон актуелизирање на прашањето на воспитувањето и образованието на младите за заштита на недвижното културно наследство,односно понуда на еден научен пристап кон оваа проблематика. Клучни зборови: културно наследство, заштита, основно и средно образование

In «E|C. Rivista dell’Associazione italiana di Studi Semiotici», XVIII, 42, 2024, pp. 74-87, ISSN: 1970-7452

The essay attempts to discuss the concept of existential translation through Kafka's epistolary writing. In this sense, writing represents the possibility of translating the self into words, which in the letter can be addressed to others, a dynamics that constitutes a solid foothold on which to stand in life. Some of the points of the correspondence that converge with this theme are retraced, with particular reference to the letters to friends and to Milena Jesenská. The basic idea is that Kafka suggested an important aspect of human existence: being connected, protected, supported by the figures of otherness through writing, which at the same time becomes a instrument of self-translation to each other and the possibility of communication and sharing. This is an aspect that is very evident in consideration of the fact that, for Kafka, relationships acquire their authenticity in writing, so that letter properly becomes the essence of the self transfigured in words.

The Birth Certificate of Heliodor Święcicki. Notes on the biography and genealogy of the first rector of the University of Poznań Heliodor Święcicki stands as a figure of considerable importance in the history of the University of Poznań, being one of its founders as well as its inaugural rector. His life has been the subject of numerous biographies, scholarly and popular alike, as well as a variety of studies focusing on, among other topics, the university's history. His persona is widely documented in dictionaries, lexicons, and encyclopaedias, thereby serving as a crucial point of reference within the Polish academic milieu. Yet, for many years, one of the most significant aspects of Święcicki's life, his birthplace, remained unidentified. Prior speculation suggested that he might have hailed either from Śrem or Poznań, but none of the earlier attempts to clarify this issue has been substantiated by sufficient evidence. Historians examining his life have not undertaken a comprehensive archive enquiry capable of dispelling these uncertainties. Following a thorough analysis of the primary historical sources, including parish registers, it has now been established that Święcicki was born in Poznań, more precisely in a tenement on the corner of Garbary and Woźna streets. This finding conclusively resolves the long-standing debate concerning his origins and definitively identifies his birthplace. Moreover, this article revisits and corrects other significant details pertaining to the genealogies of the Święcicki and Korytowski families. The revisions address the inaccuracies in the information regarding Święcicki’s parents but also clarify details concerning his siblings. These corrections fill an important gap in the biography of this remarkable individual.

Les neuf essais rassemblés par Alice Zeniter dans Toute une moitié du monde viennent méditer ce qu'a de paradoxal la demande que tout lecteur adresse aux fictions : « Je veux à la fois que la fiction m'arrache au monde et qu'elle m'éduque sur lui ». Si Montaigne n'y est jamais cité, chacun d'eux retient quelque chose de la leçon des Essais, en livrant un autoportrait de l'autrice en lecteur.
Alice Zeniter's nine essays in Toute une moitié du monde reflect on the paradoxical nature of every reader's demand for fiction: "I want fiction to take me out of the world and educate me about it at the same time". Although Montaigne is never quoted, each of them retains something of the lesson of the Essays, offering a self-portrait of the writer as a reader.

This paper argues that Yuri Herrera's Signs Preceding the End of the World subverts US-centric discourses on border crossing by exposing them as artificial myths. Suspending said myths by superimposing an alternative mythical dimension rooted in Aztec cosmology and narratives about the descent into the underworld, the novel instead fosters a form of 'alternative knowledge' in which the liminal state of border-crossing bodies becomes detached from the negative stigma of hegemonic US-centric discourse. The ensuing study's main analysis aims to detail how the novel's narrative structure of descent reimagines the experiences of unauthorized border crossing as a mythical and transformative journey of self-discovery.

Estas páginas surgieron a modo de diario de la peste o bitácora de un viaje inmóvil. Cada parágrafo de las cuatro partes que componen el libro surgió frente al pavor de la coyuntura, en un tiempo intenso y complejo, vertiginoso y excepcional. Desde luego se han mantenido esas fechas que jalonan el 2020 como indiscutible portal de entrada al siglo 21, aunque el armado final del libro no responda a esa sucesión temporal: más bien funciona de manera elíptica, acompasada en torno a ciertos problemas y obsesiones que, como piezas de caza, se han ido rondando, en el intento por morder el hueso.La crisis económica y sanitaria estructural que aqueja al planeta ya ha encontrado una expresión que ordene el desasosiego que embarga a nuestras sociedades: ´nueva normalidad´. La pandemia de COVID-19 dejó en su reguero un nuevo léxico y una cantidad de conductas que han cambiado radicalmente las formas de relacionarnos y de actuar. La relación entre cuerpo, virus, escritura y política ancla estas páginas en la actualidad, a veces con morosidad y paciencia, otras veces con hartazgo y desesperación; siempre con el vértigo que nos devuelve el hastío y la expresión extasiada de pensar cuestiones vigentes sin horizonte a la vista.Pocas verdades nos asisten: la inminencia de algo nuevo y desconocido que desbroza un sentir y pensar el mundo; la necesidad de volcarlo en una escritura ubicada geográficamente en Latinoamérica, en algún lugar de Argentina. Un punto como cualquier otro, pero contenido por un espacio y un lenguaje particular que no queda soslayado y que nos recuerda que somos dónde pensamos, en la dinámica marcada por las diferentes distancias y momentos que vamos atravesando.¿Cómo vivir este presente cuando la corporalidad se nos niega y el temor se impone? ¿Cómo comprender el excluyente escenario político, económico y comunicacional con un lenguaje que no sea instrumentalizado por posiciones hegemónicas? ¿Cómo reanimar las vibraciones poéticas y curativas de las palabras, de manera que éstas no se vean sometidas a las fórmulas del marketing o a la métrica tartamuda de las redes? ¿Cómo construir elucubraciones capaces de irradiar una luz nueva que opaque el influjo de las grandes corporaciones, que sortee su vigilancia, que destrone sus antenas? ¿Cómo ampliar el límite de nuestras percepciones y de nuestros sueños? ¿Cómo saber qué mundo queremos, qué mundo podemos construir? Estas son algunas de las preguntas que Encovichadxs bordea, retuerce; olfateando el hueso duro, a veces con rabia y otras veces con serenidad y sosiego, pero siempre asumiendo que no persigue pensamientos únicos ni pretende el paisaje tranquilo de las últimas respuestas.

Studies, where he is currently working on a dissertation on Shakespeare and mindreading. He is also artistic director of the Improbable Fictions staged reading series. His work has recently appeared in symplokē and Philosophy and Literature.

By giving a literary treatment to the earliest designs engraved on ostrich egg shells in
India, we assumed that greater cognition already existed in the mind of that early man. We justify this literary treatment through the analysis of its primary components, the components that make up literature as such; its rhetorical forms or rhetorical figures.
Finding these rhetorical forms in early engravings confirms the existence of literature, but we do not stop there, if 31,000 years ago there was already literature in India, ¿what were those rhetorical combinations? ¿did they evolve into other combinations? ¿why did they evolve into those combinations?. A combination being the joint presence of two or more rhetorical forms in a recurring manner.
In order to recognize these rhetorical figures combinations in rock designs; we introduce the method of  “literary disaggregation”. This method consists of decomposing literature to its basic components: “The rhetorical forms”.

Rose notes that “while they may be well-intentioned, these encounters often leave me feeling judged as faulty and in need of repair.” Why do some Christians react to disability and healing in this manner? According to the article, those who offer healing do so because, “in the Gospels, Jesus healed the sick and commanded his disciples to do the same.” (BBC) In Mark 5:23-34, disability is portrayed as a burden, and healing, when elected, is the means to overcome that burden. In this essay, I will analyze how this bible verse in particular depicts the relationship between disability and healing powered by gendered agency through event sequence, word-choice, and body politics.

Publié sous licence CC BY 4.0 © Classiques Garnier MORATO (Nicola), « L'environnement cyclique de Guiron le Courtois. Fonctions et dysfonctions des raccords » RÉSUMÉ -Rédigés pour assurer la jonction diégétique et transfictionnelle entre les romans de Méliadus et de Guiron, les brefs textes de raccord constituent un corpus. Les envisager comme produits d'un certain type de culture textuelle permet de comprendre leur fonctionnement et d'évaluer leur rôle dans l'agencement des textes en de nouveaux ensembles. Ces dispositifs sont étudiés en tant que moteurs du processus de cyclification. MOTS-CLÉS -Roman arthurien en prose, mise en cycle, raccords cycliques, restauration, culture textuelle médiévale, Suite Vulgate du Merlin, Livre d'Artus

Resumo: Este trabalho propõe uma aproximação crítica a dois filmes de Manuel Antín, Circe (1963) e Intimidad de los parques (1965), sendo que o primeiro se baseia no conto homônimo e o segundo, nos contos "Continuidad de los parques" e "El ídolo de las cícladas". Verifica-se que os filmes exploram sentidos sugeridos pelos contos e vão além deles, acentuando alguns e estabelecendo novas relações entre os textos adaptados. Procura-se demonstrar, na construção das narrativas fílmicas, mais especificamente na mise-en-scène de algumas sequências tomadas a modo de exemplo, os procedimentos que dão corpo às (re)leituras de Cortázar elaboradas por Antín.

Doris Lessing’s An Old Woman and Her Cat explores the intersectionality of marginalization through the lens of abjection and commodity fetishism. This paper examines the protagonist, Hetty, a Romani woman whose alienation is shaped by her ethnicity, financial instability, and refusal to conform to societal expectations. Drawing on Julia Kristeva’s theory of abjection and Marxist notions of commodity fetishism, this analysis highlights how Hetty’s value as a person is dictated by capitalist structures and how her internalized shame manifests in her relationship with her cat, Tibby. By unpacking the external and internal dimensions of Hetty’s exclusion, this study reveals the systemic nature of oppression and the inescapable cycle of alienation faced by those deemed the “Other.”

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For a writer who, in Se una notte d'inverno un viaggiatore, shares his wish to be only a writing hand, Italo Calvino (1923-85) has had a remarkable presence both in words and in image over recent years. One cannot entirely separate this ubiquity from what we might term the "anniversarification" of literature, both in the publishing industry and in academia, which generates ever more marketing possibilities around authors and their works. These possibilities are often arbitrarily bound up with numerical and symbolic connections between the present and a writer's date of birth or death (or of the publication of their masterpiece). The sudden return of Calvino thus feels akin to the appearance of the shade of Virgil in front of Dante: a great figure weakened (or rather strengthened?) by a long silence. Though Calvino has of course never fully disappeared from the limelight, the worldwide (but especially Italian) attention garnered for his hundredth anniversary, though certainly positive, does not fully represent the normal wealth, worth, and width of attention for his works. Nonetheless, no Calvino scholar could really lament the revival in this long 2023, which is ongoing into 2024. From Australia to Algeria, Brazil to Bulgaria, Ireland to India, Myanmar to Mexico, Nairobi to the Netherlands, Tunisia to Turkey, myriad aspects of Calvino's works and how they resonate with various audiences have been elucidated in traveling exhibitions, seminars, conferences, book fairs, festivals, plays, video games, dance performances, and a documentary based on the database and extra materials that are available in the Laboratorio Calvino and are therefore able to bring us closer to lesser-known sides of the writer (see the review of Laura Di Nicola's new volume by Clemens Arts in this same issue of the Bookshelf). Moreover, the publication of many of his letters (not only editorial in nature, but also those to Sciascia and, much more intimately, to his future wife Chichita) confirm this interest.

For a writer who, in Se una notte d'inverno un viaggiatore, shares his wish to be only a writing hand, Italo Calvino (1923-85) has had a remarkable presence both in words and in image over recent years. One cannot entirely separate this ubiquity from what we might term the "anniversarification" of literature, both in the publishing industry and in academia, which generates ever more marketing possibilities around authors and their works. These possibilities are often arbitrarily bound up with numerical and symbolic connections between the present and a writer's date of birth or death (or of the publication of their masterpiece). The sudden return of Calvino thus feels akin to the appearance of the shade of Virgil in front of Dante: a great figure weakened (or rather strengthened?) by a long silence. Though Calvino has of course never fully disappeared from the limelight, the worldwide (but especially Italian) attention garnered for his hundredth anniversary, though certainly positive, does not fully represent the normal wealth, worth, and width of attention for his works. Nonetheless, no Calvino scholar could really lament the revival in this long 2023, which is ongoing into 2024. From Australia to Algeria, Brazil to Bulgaria, Ireland to India, Myanmar to Mexico, Nairobi to the Netherlands, Tunisia to Turkey, myriad aspects of Calvino's works and how they resonate with various audiences have been elucidated in traveling exhibitions, seminars, conferences, book fairs, festivals, plays, video games, dance performances, and a documentary based on the database and extra materials that are available in the Laboratorio Calvino and are therefore able to bring us closer to lesser-known sides of the writer (see the review of Laura Di Nicola's new volume by Clemens Arts in this same issue of the Bookshelf). Moreover, the publication of many of his letters (not only editorial in nature, but also those to Sciascia and, much more intimately, to his future wife Chichita) confirm this interest.

Este libro recoge una serie de exposiciones realizadas durante el año 2022, año en que se conmemoraron los 150 años del nacimiento del gran filósofo uruguayo Carlos Vaz Ferreira (1872-1958), y cien años de la publicación la obra que recoge sus conferencias sobre los problemas sociales. Su obra "Sobre los problemas sociales" junto con sus conferencias sobre los problemas de la tierra (1918), son textos de avanzada en que el filósofo demuestra una gran sensibilidad ante las injusticias del orden social consagrado en su época y actualmente. Allí advierte sobre las contradicciones y el exceso de desigualdad que supone el régimen vigente signado por el individualismo liberal. Cuestiones como la prioridad de los derechos económicos y sociales, la justificación de un mínimo social consagrado a la persona solo por ser tal o la crítica al derecho ilimitado a la herencia, particularmente de la tierra, son aspectos de su obra que aún nos interpelan y que justifican que continuemos visitando, resignificando y dialogando con ella.

在中西比較視野中對中國古代文論體系開展系統的共時和歷時研究，具體分四大步驟進行。第一步分析四個文論類型（文學論、創作論、理解論、審美論）的結構關係，藉助三棱錐圖展示四者之間縱橫交錯的關聯，進而確定整體思維（holistic thinking）為中國文論的統一原則。第二步進入肌理層次，檢驗整體思維原則是否也貫穿四大文論類型之下各種具體論說。第三步再深入到術語層次，探究此原則如何影響乃至決定文論術語生成模式和演變途徑。第四步接著開展曆時研究，揭示四大文論類型曆史發展的動力與軌跡。共時和歷時研究證明，整體性思維原則統攝了古代文論方方面面，使之形成一個繁富龐大的有機體系。所謂中國文論無系統、模糊多變的觀點是錯誤的，是按照西方文論範式來評價中國文論的產物。以整體思維為圭臬的文論范式，不僅是中華民族的，也是世界的。以之為參照，西方文論研究者可以發現自己的傳統並非普世，而是帶有其自身的文化特征。

Resumen: Se destaca la importancia del proceso de categorización como parte de las dinámicas investigativas y de manera específica, dentro del contexto de la investigación sobre "La terminología de la bibliotecología en América Latina: un estudio comparativo", cuyo planteamiento central se fundamentó en la definición de un sistema categorial, que a su vez generó otros sistemas categoriales, que permitieron lograr una aproximación a dimensiones específicas de la educación bibliotecológica en esta región del continente, así como el abordar enfoques teóricos y epistemológicos que fundamentan el hacer bibliotecológico de manera general y otras subcategorías que permitieron evidenciar un panorama de la formación bibliotecológica, desde diferentes ámbitos.

This chapter aims to delve into Chimamanda Ngozi Adichie’s critical examination of gender politics and her challenge to patriarchal dominance through the narrative of her influential novel, Purple Hibiscus (2003). Adichie stands at the forefront of the contemporary feminist movement, utilising her literary prowess to address gender politics with profound insight. This chapter will study Purple Hibiscus as a critical feminist text that examines patriarchal dominance and the dehumanization of women in post-colonial Nigeria. Through characters such as Beatrice (Mama) and Aunt Ifeoma, Adichie highlights the multifaceted struggles women face, including forced marriage, social isolation, and domestic abuse. The use of symbols, particularly the red and purple hibiscus, further accentuates the themes of oppression and the possibility of liberation. Adichie’s narrative not only reflects her personal engagement with feminist issues but also builds upon the literary legacy of Chinua Achebe, blending personal and political elements to craft a compelling critique of gender inequalities. This study aims to advocate for meaningful change by reinterpreting Purple Hibiscus as a pivotal text in feminist discourse. By analysing female resistance in the text, the chapter contributes to ongoing feminist discourse, envisioning a more equitable, transformative future.

s historical novel That Deadman Dance (first published in 2010) is a challenging read, offering a complex portrayal of cross-cultural contact on the so-called 'Friendly Frontier' of the southern coast of Western Australia in the early to mid-nineteenth century. Not only is the novel confronting in its subject matter, it is also what Derek Attridge might describe as 'serious literature' (The Singularity of Literature 35-44), in the sense that it is both innovative and singular: it jumps around chronologically, shifts narrative perspectives, and moves between different states of consciousness. In this way, at least aesthetically, we might call it an archetypal postcolonial novel (see Carter, 'After Postcolonialism').

La multiforme comicità celatiana tra satira, caricatura e novella Fin dagli esordi l'attività narrativa di Gianni Celati è accompagnata da una costante riflessione critica che riguarda spesso la funzione svolta dalle diverse forme del comico 1. Questo aspetto è già evidente in Trobadori, giullari, chierici ovvero la tradizione ideologica del riso (1971), uno dei suoi primi articoli che contiene un'affermazione di cui occorre tenere conto se si vuole comprendere appieno la natura dell'opera celatiana: «il riso è un fenomeno di smembramento del sapere e dell'unità di visione del mondo, riducendo a frammenti caricaturali ciò che altrove ha valore di destino: entra perciò in perpetuo conflitto con la cultura occidentale alta che è accentratrice ed essenzialmente basata sul modello drammatico» 2. Il riferimento di Celati alla caricatura non è casuale e riguarda una componente importante della sua scrittura, riconducibile in parte al magistero esercitato su di essa da Calvino, alla sua spiccata propensione immaginativa. È stato proprio il nostro autore a parlarne a Massimo Rizzante nel maggio 2005: «il suo era un lavoro di fantasia usando la scrittura come una specie di disegno a mano libera. […] La sua tendenza ad usare la scrittura alla maniera delle vignette, dei

Zu den komplexen Vorgaben kritischen Interpretierens von Texten gehört jene Friedrich Schlegels, die er in den Lyceum-Fragmenten formulierte: "Poesie kann nur durch Poesie kritisiert werden. Ein Kunsturteil, welches nicht selbst ein Kunstwerk ist […], hat gar kein Bürgerrecht im Reiche der Kunst." 2 Schlegel lenkte damit das Augenmerk auf das kritisch interpretierende Verfahren an sich, das zu einer Urteilsbildung führt; diese ist wiederum mit abhängig von mitgedachten Geschmacksurteilen. Kritisches Verfahren meint dabei stets auch ein Offenlegen der Wertungskriterien und die Frage, wie ein bestimmtes Vorverständnis reflektiert wird, das in die Deutung eines Kunstgegenstands mit eingeht. Die Art nun, wie sich diese (Selbst-)Reflexion im kritischen Diskurs vorführt, kann zu dessen eigenem Kunstcharakter beitragen. Wie diese komplexen Voraussetzungen in die kritische Auslegung eines (Sprach-)Kunstwerks hineinspielen, sei Gegenstand der folgenden Überlegungen. Sie gehen von der These aus, dass die ‚Ästhetik des Deutens' die sinnlich-intellektuelle Folge kritischer Verfahrensweisen ist, die ihrerseits das ‚Machen' einer kritischen Betrachtung, also ihre poesis, spiegelt. In der literarischen Moderne wurde am ehesten Hugo von Hofmannsthal Schlegels Forderung nach einer kunstwerkhaften Präsentation von Kunstkritik gerecht, und das vor allem deswegen, weil er dessen Prinzip, Kritik auch in Form von "Unterhaltungen" über zu kritisierende Schriften zu entwickeln, sie also auf dialogische Art zu interpretieren, übernahm. Vermittels der Form fiktiver Gesprächeob über Gottfried Keller, Goethes

Romance is the properly dialectical genre. Not tragedy! Fredric Jameson's thinking about romance in the Political Unconscious is indebted to Northrop Frye who named this genre "dialectical." Jameson accepts this definition. Romance, after Jameson, lends itself to both critique and to the imagining of alternative futures–what, in other words, we may name "committed criticism" contra the silly and stupid diversions of post-critique.