19th-Century American Literature

Tennessee Williams most famous play The Glass Menagerie presents the socio-political conflicts of the contemporary society. The play refers to the 1930s era of Great Depression in America. It was a period of struggles against hopelessness that threatens their lives and family relationship. Middle class people suffered mostly specially the Wingfields who represents this kind of people. American dream is a pathway to escape from this suffering, but it is difficult to attain it. This dream is not only about material prosperity but it is all about success that is gained through hard work. The United States of America’s Declaration of Independence proclaims that ‘life, liberty and pursuit of happiness’ are rights of every individuals irrespective of their personal background. Most Americans believe that it can be achieved through hard work but this dream is like a myth.

A ecomotricidade se mostra como uma proposta de abordagem pautada em motricidade humana, educação ambiental crítica e pedagogia dialógica, com potencial de ser utilizada nas aulas de educação física como forma de sensibilização dos alunos. A educação física escolar se apresenta como um espaço de aprendizagem e autodescoberta de nós com o ambiente, de como nos movemos neste e como se dão essas interações ser humano-ambiente. O objetivo do trabalho é identificar e compreender os processos educativos emergentes de uma intervenção nas aulas de educação física pautada na ecomotricidade, junto a estudantes de uma turma de escola pública estadual localizada no município de São Carlos, interior do estado de São Paulo, Brasil. A presente pesquisa possui caráter qualitativo, inspirado na fenomenologia. Foram realizadas oito aulas na escola, com os alunos de uma turma do 5º ano do ensino fundamental. Os dados foram coletados a partir de registros em diários de campo. A análise dos dados foi feita a partir da análise ideográfica, com a identificação das unidades de significado, e a análise nomotética, com a construção de duas categorias temáticas: 1) Compreendendo o ser humano como ente da natureza; 2) Brincando, jogando e aprendendo sobre o meio onde vivemos. Quando pautada na ecomotricidade, a aula de educação física se apresentou como práxis educativa, ou seja, espaço de atividades transformadoras, conscientes e intencionalmente realizadas. Assim, formamos cidadãos e cidadãs ambientalmente conscientes em relação ao seu movimento e suas ações na natureza bem como as consequências dessas ações para ele mesmo, para a sociedade e para o meio ambiente como um todo.

19th-century female author Catharine Maria Sedgwick's 1827 novel, Hope Leslie, or Early Times in the Massachusetts, portrays the eponymous Heroine, Hope Leslie, who is born and orphaned in England and comes to a Puritan community in Massachusetts, New England. Hope's trans-Atlantic experience allows her a peculiar position between a Native American community and a white settler one, and this trope has been popular in Hope Leslie criticism. While many critics focus on the female characters and their interracial intimacy, this paper attempts to explore peripheral male characters and undiscussed themes in the novel by shedding more light on Mr. William Fletcher, Hope's uncle, delving into a reading of Hope Leslie as a blueprint for a uniquely American form of manhood, in reaction to traditional English

This article, which focuses on the role of Jeremiah as a prophet, is based on a study of the Hebrew Bible and the Greek Septuagint. It also analyzes references to Jeremiah in the Book of Mormon and connects those references to current scholarly research on the book of Jeremiah. Consistent with the general consensus among biblical scholars today, as well as Nephi 1 's own references to Jeremiah in the Book of Mormon, the author proposes that even though Jeremiah embodied the office of a prophet, he was not recognized as being "among the prophets" during his lifetime. This is a subtle yet significant difference. If this view is correct, it would further substantiate the alignment between the Book of Mormon and contemporary scholarly perspectives on the historical reception of Jeremiah's identity as a prophet in antiquity.

The Wizard of Oz has long been interpreted as an allegory for economic and political struggles, particularly in the context of monetary policy, banking, and systemic manipulation. When viewed in relation to America, China, and economic exploitation, the film (and the original novel by L. Frank Baum) can be analyzed through the following lens:

This article maps out the Gaza genocidal rhetoric onto a genealogy of European-American imaginative re-makings of the geography of Palestine. This tradition, rooted in nineteenth-century visions of ethnically cleansing and repurposing the land according to colonial and theological worldviews, has systematically imagined freeing a barren Palestine from Palestinian barbarity, neglect, and spiritual corruption. This hegemonic tradition and its geographies of domination, however, have not gone unchallenged. Indeed, as a model-one rarely studied though, Ibrahim Fawal's diasporic Palestinian novel On the Hills of God offers an alternate anti-colonial geography of resistance. To develop its claims, the article first uses a body of interdisciplinary scholarship to establish the genealogy and expose its genocidal spatial remapping of Palestinian geography. It, next, strategically resorts to On the Hills of God as an anti-colonial text that not only uncovers the Zionist destruction of a fairly harmonious multifaith local cultural geography in pre-1948 Palestine, but also captures traumatic memories of a nation currently besieged in its shrinking indigenous geography, exposes established hegemonic narratives, and charts a trajectory of resistance.

This article explores Emily Dickinson's poetics of labor and the relationship between work and leisure in both nineteenth-century and contemporary US culture. Historically, labor has been perceived as the axis of social and economic values. Individuals, however, are frequently encouraged to deviate from their work routines, making it difficult to appreciate them. Using a comparative and interdisciplinary approach, this study examines Dickinson's oeuvre in dialogue with the philosophical and sociological framework on the distinction between work and leisure and its implications for people's lives, as well as how the value of work has changed over time. Through a close reading of selected poems and letter fragments, this article demonstrates how Dickinson's work blurs traditional boundaries between labor and leisure, suggesting that creative work can hold intrinsic, self-validating worth irrespective of economic or societal pressures. Finally, Dickinson's perspective on work and time may inform contemporary debates around meaningful labor and life balance in a capitalist society.

Una revista de poesía dirigida por mujeres.
Un programa de televisión realizado por mujeres.
Los poetas del Grupo Cero realizamos un trabajo de difusión de la obra de los más grandes poetas de la historia, seguimos el trabajo emprendido en 1981 cuando se funda la Escuela de Poesía y Psicoanálisis Grupo Cero y que, a través de las revistas que componen su historia, continúa acercando la poesía a todas las clases sociales.
Una idea original de Miguel Oscar Menassa
www.poesiamaspoesia.com

This paper explores Ralph Waldo Emerson's concept of how new ideas and experiences are incorporated into one's previously held beliefs. It frames this process using William James's description of how our stock of old beliefs are altered by new experiences. The process begins with "novel contact"-when a new idea or experience is presented. This often leads to "incorporation"-when old beliefs give way to new ideas. However, incorporation is not always easy as deeply-rooted truths can limit the degree of newness that can be integrated at any given time. Emerson viewed this process as a constant source of progress and expansion, allowing individuals to draw power from the constant influx of new experiences and ideas.

T.S Eliot’s Murder in The Cathedral accommodates politics and religion in its ideological and creative belly. In various discourses, politics and religion share an inevitable, interwoven correlation where the essence of one is upheld by the other through a dialectical alignment. The parallel configuration of both concepts in the text has elicited debates and critical responses regarding their compatibility or otherwise. However, studies have shown that there is a dominant interpretive consensus portraying religion as Eliot’s main focus thereby upholding a lopsided narrative which diminishes the thematic potential of the text. This article argues that there is an inevitable synthesis between politics and religion which imbricates their relationship in the text. Through demonstrable dialogism, the article further argues that Eliot propagates a dialectic of mutual dependency between politics represented by King Henry II and religion represented by Archbishop Thomas Becket. Thus, politics and religion are two different branches of the same existential paradigm and should be recognised as such. Eliot’s juxtaposition of the two concepts in the text constitutes a genuine reality which provides a new interpretive kernel.

Edgar Allan Poe's The TellTale Heart is a profound examination of the complexities of human consciousness, where the boundaries between reason and madness blur in a chilling psychological descent. This paper explores the narrator's obsession with control-over time, perception, and morality-as a manifestation of his doomed attempt to suppress the subconscious forces that ultimately consume him. Through an analysis of psychomachy, temporal fixation, and the interplay between rationality and instinct, the study argues that the narrator's downfall stems not from external judgment but from the inescapability of his own fragmented psyche. By situating the story within Gothic and Enlightenment contexts, this paper demonstrates how Poe subverts traditional notions of reason and empiricism, revealing that intellect, when detached from emotional depth and ethical grounding, becomes a self-destructive force. Ultimately, The TellTale Heart serves as an allegory for the futility of imposing order on chaos, illustrating the inevitability of subconscious truths emerging despite the most calculated attempts to silence them.

The following essay analyzes a significant Baroque substrata underlying The Scarlet Letter, taken up, among other things, in relation to the momentous Puritan legacy that is an essential element of Nathaniel Hawthorne's literary work. In particular, the paper focuses on analyzing crucial and minor Baroque topoi represented in the novel, such as metamorphosis, relativism and ambivalence of reality, anxiety and the obsession with death. Furthermore, the article investigates the role of sharp chromatism within The Scarlet Letter, the use of typical Baroque symbols, such as the ellipse and the maze, and the fundamental role of distinctive Baroque tropes, that is, metaphor and antithesis. In order to examine the aforementioned Baroque elements, the present essay refers to the theoretical framework drawn up by Raymond Williams in his classic work Marxism and Literature (1977). That theoretical model, elaborated by Williams on the basis of Gramsci's concept of hegemony, aims at describing social and cultural practices and phenomena as dynamical interaction between "residual," "dominant" and "emergent" components. While the "dominant" represent the core of the cultural triad, the "residual" and the "emergent" situated on its periphery are likewise essential for a persuasive dynamic description of literary phenomena at any given moment. The following article interprets the echoes of the Baroque literary tradition in the novel by Nathaniel Hawthorne as belonging to the domain of "residual" and hence effectively formed in the past, but still active in the cultural process as an effective element of the present.

Racial segregation and identity crisis play an essential role in Black American literature as well as in American society. The objective of the study is to analyze the significant themes of identity crisis and racial segregation in Richard Wright's novel Black Boy. The study focuses on the concepts of racial segregation and identity crisis because these issues were and are still controversial and argumentative in Afro-American Literature. There is also an analysis of the features of post-colonialism. Postcolonialism is a major writing style used in this novel. It claims that Black American literature was written to fight against racial segregation, oppression, aggression in order to obtain self-pride and identity. It also concentrates on the theme of the problems of Blacks' identity and racial discrimination in American society to prove that racism and oppression are indeed prominent themes in Wight's novel because the book was written during the Jim Crow era at a point where racism was very important in American society.

Whereas to dwell on land we created architecture, to dwell in the sea we had to invent seamanship, not shipbuilding. There is a factual impossibility of equating the two forms of life-those anchored to land with the marine epigenesis-whose descriptions are excited by their contraposition in Moby-Dick without the need for explicit comparison. Like Ishmael, my aim here is simply to design a systematization of indeterminacy in the space of life within the body of water. Meville sought to understand it by cetology, however I, by maritorium. We both uttered the phrase "I am the architect, not the builder." From a hermeneutical point of view, you don't make houses any more than you make boats. What is made, from the inversion of the processual conventionalism of creation, is architecture. The maritorium is a dynamic and multifaceted space that includes maritime and coastal areas, characterized by its changing morphology, the indefiniteness of its borders and the fluidity of its laws. 1 A maritorium is not static, but is in a continuous process of transformation due to ecosystem dynamics, as well as anthropogenic processes and climate change. Moreover, its geographical and legal boundaries are inherently fuzzy, reflecting complex and often conflicting claims to sovereignty,

The aim of the research is a circumstantiation that Nathaniel Hawthorne's literary work, and notably his Scarlet Letter,have always endorsed a clear idea pertaining to the achievement of the New English national unity. A vivid Biblical imagery, or sometimes even the ingrained Puritan prejudices that were still held by most of the New Englanders of Hawthorne's period, were used to accomplish this purpose. Hawthorne believed that only togetherness could save the Union in crucial political moments, and thus he was ready to forgive his compatriots many costly mistakes that were made during their common history. In what was often referred to as America's "promised land," exactly this hereditary trait of Hawthorne's generosity was paternally demonstrated in many cases. Methodologically, it has also empowered Hawthorne to be the prime torchbearer of Joseph Conrad's grandiose but slightly diabolical scheme of one's "heart of darkness" existent in still not gingerly explored and densely populated New England of his times. To Hawthorne, with a resulting implication extended as far as to the present, a new "chosen people" has started to wage a bitter struggle for the assurance of its survival therein while permeating it with its all-pervading gloom.

The aim of the research is a circumstantiation that Nathaniel Hawthorne's literary work, and notably his Scarlet Letter,have always endorsed a clear idea pertaining to the achievement of the New English national unity. A vivid Biblical imagery, or sometimes even the ingrained Puritan prejudices that were still held by most of the New Englanders of Hawthorne's period, were used to accomplish this purpose. Hawthorne believed that only togetherness could save the Union in crucial political moments, and thus he was ready to forgive his compatriots many costly mistakes that were made during their common history. In what was often referred to as America's "promised land," exactly this hereditary trait of Hawthorne's generosity was paternally demonstrated in many cases. Methodologically, it has also empowered Hawthorne to be the prime torchbearer of Joseph Conrad's grandiose but slightly diabolical scheme of one's "heart of darkness" existent in still not gingerly explored and densely populated New England of his times. To Hawthorne, with a resulting implication extended as far as to the present, a new "chosen people" has started to wage a bitter struggle for the assurance of its survival therein while permeating it with its all-pervading gloom.

The aim of the research is a circumstantiation that Nathaniel Hawthorne's literary work, and notably his Scarlet Letter,have always endorsed a clear idea pertaining to the achievement of the New English national unity. A vivid Biblical imagery, or sometimes even the ingrained Puritan prejudices that were still held by most of the New Englanders of Hawthorne's period, were used to accomplish this purpose. Hawthorne believed that only togetherness could save the Union in crucial political moments, and thus he was ready to forgive his compatriots many costly mistakes that were made during their common history. In what was often referred to as America's "promised land," exactly this hereditary trait of Hawthorne's generosity was paternally demonstrated in many cases. Methodologically, it has also empowered Hawthorne to be the prime torchbearer of Joseph Conrad's grandiose but slightly diabolical scheme of one's "heart of darkness" existent in still not gingerly explored and densely populated New England of his times. To Hawthorne, with a resulting implication extended as far as to the present, a new "chosen people" has started to wage a bitter struggle for the assurance of its survival therein while permeating it with its all-pervading gloom.

Proprietà letteraria riservata. I diritti di traduzione, memorizzazione elettronica, di riproduzione e di adattamento totale e parziale di questa pubblicazione, con qualsiasi mezzo (compresi i microfilm, le fotocopie e altro) sono riservati per tutti i paesi.

My thesis aims to take Herman Melville's Moby-Dick to explore Jacques Derrida's theory to elucidate the power of Being. I take Martin Heidegger's definition of the notion of Dasein to demonstrate the relevance of "presence," which I use in my thesis to illustrate the multiplicity of life in Moby-Dick. I take Heidegger's assertion on presence to construct the idea of self-presence and further reveal how the features of self-presence are distinguished from and related to those of Being. The thesis consists of four chapters. In the Introduction and Chapter 1, I illustrate how the literary act (reading and writing) generates a virtual reality in the reader that exists concurrently with the reader's actual reality in life. I further take Ishmael's presence in the virtual reality to expound that the reader generates the imaginary life form of "I am," the character Ishmael. In the process of replacing the presence-identity, the reader comes to understand that the necessity of the presence is derived from the absence and existence of Being. The narrative form that Melville creates aligns the position of the author to be similar to that of Being. The self-referential quality that Melville creates in Moby-Dick generates a relationship with the only one book that is mentioned in Derrida's Writing and Difference. In Chapter 2, I take Michel Foucault's theory to discuss how the madness of Captain Ahab constructs his power in Moby-Dick. Ahab's power originates from his searching for subjectivity. In Chapter 3, I use Edward W. Said's discussion on American imperialism to illustrate the literary metaphor of Moby Dick and the Pequod. In the political aspect, the literary metaphor can be viewed as the epitome of fascism and American imperialism. Concurrently, I explore how the power-space that the whaling ships construct marks the phenomenon of globalization. I also discuss the relations with cultural power and political power. In the fourth chapter, I take Giorgio Agamben's theory to discuss the bare life, which is generated from the state of exception. I use the power of the law formed by the vow on the Pequod to discuss how the bare life pertains to the sovereignty of mankind. The sovereignty of life generates from the desire to liberate the self-presence. To liberate this predicament in Moby-Dick, I elaborate on my interpretation of the literary act. I take Agamben's messianic issues to create messianic time in reading. This messianic time appears when the literary act has been completed, which generates the time-space of the now. This fulfills the life form that employs the Being of the subject within-life-itself. This is the oneness of life. The virtual reality and actual reality that interact during the literary act give birth to the significance of time as being the Being.

Having asserted that Mathew Franklin Whittier co-authored the original treatment of "A Christmas Carol" with his wife Abby, intending it to be a Spiritualist novella written in the Christian redemption genre, I explore Mathew's relevant literary background for such an endeavor.

, delighted in saying that Emerson "is as sweet as barbed wire." 1 Giamatti understood the full range of Emerson's thought, which spans the highs and lows of the human condition. Writings such as "Experience," "Illusions," "The Tragic," and "Fate" demonstrate the transcending of Emerson's transcendentalism beyond any soft Romanticism or naïve idealism. They consistently assert the reality of antagonistic forces pervading human experience and nature. "The Tragic" opens with the lines: "He has seen but half the universe who never has been shown the House of Pain. As the salt sea covers more than two thirds of the surface of the globe, so sorrow encroaches in man on felicity" (CW 10:334). 2 "Fate" similarly insists: "We cannot trifle with this reality [of fate], this cropping-out in our planted gardens of the core of the world. No picture of life can have any veracity that does not admit the odious facts" (CW 6:11; my emphasis). Emerson was made intimately aware of the House of Pain by his own personal hardships. To name only a few, there was the death of his first wife Ellen at age 19 from tuberculosis, a rheumatic eye disease that left Emerson nearly blind for months, the terrible loss of his five-year old son Waldo to scarlet fever, the untimely deaths of his two brothers Charles and Edward in their 20s, a fire that partially destroyed the Emerson family home, and the inexorable mental decline into aphasia afflicting Emerson in his final years. Emerson further bore sympathetic witness to the hardships of his friends, family, and community. In addition, he lived through the national crisis of the American Civil War, and was a committed abolitionist willing to face head on the real evils of slavery. These experiences and others were a discipline in the tragic

This paper is a response to "Another Early Parody of 'The Raven,'" published by Prof. Paul Lewis in "The Edgar Allan Poe Review," in which he briefly thanks me for having brought the subject of the paper, a parody (or ostensible parody) of "The Raven" to his attention; having isolated its meaning and context as I had originally presented to him.

Menippean satire, emerging in the 3rd century BCE, is a fluid, digressive genre that defies conventional definitions. Its adaptability across historical periods makes each example unique, often marked by cynicism, parody, and carnivalization. Menippean works question absolute truths through irony, challenging cultural, philosophical, and literary norms without providing alternative solutions. John Fowles's Mantissa (1982) exemplifies Menippean satire, exploring themes of metafiction, creative process, and literary theory. Through dialogues between author Miles Green and his characters, the novel blurs boundaries between reality and imagination. John Fowles' Mantissa challenges conventional fiction-writing through intertextuality, dialogy, and metafiction questioning the nature of existence, the boundaries between fiction and reality, and societal norms. The novel, through its playful, multilayered narrative, breaks binaries like sanity versus madness while satirizing traditional literary authority and high art conventions.

Applying linguistic tools on a literary text, especially if such a text is a translation, opens possibilities for a range of readings and interpretations. This paper focuses on discovering traces of discourse and metadiscourse readings in chosen examples of usage of focus in order to establish whether it is possible to detect the presence of specific inter and intratextual layers, which clearly offer themselves for interpretation on the surface level.

В статье рассмотрен неизвестный факт московской литературной жизни 1866 г. – визит американской поэтессы Эллен Ллойд (Ки) Блант в Россию. Биография Э.Л. Блант, чье имя сейчас почти забыто, вводит нас в ряд культурных и политических контекстов своего времени, а ее не опубликованные ранее стихотворения, в свою очередь, точечно обозначают исторические события и процессы эпохи. Кн. В.Ф. Одоевский проявил к дарованию и личности Э.Л. Блант живой интерес, отразившийся в активных действиях, в частности – в организации ее «чтения», состоявшегося в Москве 25 июня 1866 г. Внимание, проявленное Одоевским, многопланово: это и эстетическая, и политическая увлеченность, характеризующая Одоевского и как писателя, и как сенатора. Так, почти случайное и непродолжительное литературное сотрудничество князя с американской поэтессой может послужить небольшим, но ценным дополнением к давно сложившемуся образу Одоевского-мыслителя.

As required under the University Ordinance, OB-9.9(viii), I hereby certify that the thesis entitled, Konkani Fiction in English Translation: A Critical Study, submitted by Ms. Glenis Maria D'Souza née Mendonça for the award of the Degree of Doctor of Philosophy in English has been completed under my guidance. The thesis is the record of the research work conducted by the candidate during the period of her study and has not previously formed the basis for the award of any Degree,

In this paper, I examine Melville's discussion in Moby Dick of the whiteness of the whale from the perspective of a Kantian account of the sublime. My aim, in the first instance, is to see if the comparison helps to shed light on Melville's puzzling discussion of the color white and why this color serves to heighten the feeling of being overwhelmed by terror when confronted with something extremely large or powerful. In turn, I intend to use Melville's discussion of whiteness to put pressure on some of the philosophical assumptions behind a Kantian analysis of the sublime. In particular, I hope to show that Melville's account of the war between Captain Ahab and the great white whale can serve as an aesthetic counterexample to the Kantian claim that both generals and war are sublime-but only if the general possesses civic virtue and the war is conducted in a just manner. I will attempt to use this counterexample to challenge the philosophical assumption that the power of reason is the basis of our nobility in the experience of the sublime, for this assumption is behind those contemporary accounts of the sublime that have been motivated by the Kantian analysis. As a result, the argument of this paper is an attempt to offer philosophical support to the efforts of those contemporary artists who, like Robert Motherwell, draw inspiration from Melville's discussion of the color white.

In this paper, I examine Melville's discussion in Moby Dick of the whiteness of the whale from the perspective of a Kantian account of the sublime. My aim, in the first instance, is to see if the comparison helps to shed light on Melville's puzzling discussion of the color white and why this color serves to heighten the feeling of being overwhelmed by terror when confronted with something extremely large or powerful. In turn, I intend to use Melville's discussion of whiteness to put pressure on some of the philosophical assumptions behind a Kantian analysis of the sublime. In particular, I hope to show that Melville's account of the war between Captain Ahab and the great white whale can serve as an aesthetic counterexample to the Kantian claim that both generals and war are sublime-but only if the general possesses civic virtue and the war is conducted in a just manner. I will attempt to use this counterexample to challenge the philosophical assumption that the power of reason is the basis of our nobility in the experience of the sublime, for this assumption is behind those contemporary accounts of the sublime that have been motivated by the Kantian analysis. As a result, the argument of this paper is an attempt to offer philosophical support to the efforts of those contemporary artists who, like Robert Motherwell, draw inspiration from Melville's discussion of the color white.

John Huston found ambiguity between good and evil in Melville’s Moby-Dick, which he represented in his 1956 movie adaptation. Hans Robert Jauss’ reception theory complements this analysis of both works through the reactions of their audiences. Moby-Dick is analyzed together with its adaptation, considering the work as a fluid text, to offer a deeper perspective on its ambiguity between good and evil. While the novel responds to Transcendentalism’s enthusiastic view of nature and its search for essential truths, Huston’s adaptation reflects how post-WWII cinema was influenced by the conflict and the consequent difficulties in separating good and evil in humans, who were seen as capable of both sublime noble acts and devastating evil.

Abstract: The title poem of Timoleon returns to a theme Herman Melville developed across his long career—the regular emergence of tyranny. Drawing on Walter Benjamin’s juxtaposition of the tyrant and the martyr in The Origin of German Tragic Drama, this article shows that Melville’s incisive analysis of a key challenge democracy always faces—the possibility that tyranny will pre- vail—and links the poem to another late work, Billy Budd. Melville’s wariness about the ability to assert knowledge of the common good links these works.

Ever since Cesare Pavese's pioneering 1932 translation of Moby-Dick; or, The Whale, Italy has proven particularly receptive to Herman Melville's masterpiece, which has not only been enthusiastically loved by generations of readers and stimulated the interest and acumen of local Americanists, but has also inspired an extensive number of Italian writers and artists. The first part of this article sketches a provisional map of some of the most recent examples of Moby-Dick's reception in the Italian arts. These range from Simona Mulazzani's dreamy etchings of tattooed whales and Giovanni Robustelli's delicate watercolours, to Sara Filippi Plotegher's environmentally inspired illustrations and designer Matteo Ugolini's Moby-Dick lamps. These works shed light on some of the meanings typically associated with Melville's work and how they have changed over the last two decades. In particular, I intend to show how the understanding of Melville's work has recently shifted from the somber and grave tone of early twentieth-century interpretations and rewritings - when it was all about tragedy, darkness, sacrifice, and folly - to the lighter tone of more recent admirers. Building on this shift, this essay investigates one of the most successful recent transmedial adaptations of Moby-Dick: Roberto Abbiati's play Una tazza di mare in tempesta (A Sea Storm in a Teacup). This adaptation distills Moby-Dick into a seventeen-minute show performed for a very small audience within a wooden box that simulates the hold of a tiny ship. Abbiati manages to evoke the whole drama by using figurines and found objects, as well as by selecting key passages from the novel with scalpel-like precision. Abbiati has also published a beautiful and singular graphic novel adaptation of Moby-Dick, summarizing each chapter of the book with only one drawing. Abbiati's works are evidence of the enduring vitality of Melville's presence in contemporary Italian art and offer the opportunity to appreciate the lighter dimensions of Moby-Dick.

The current study investigates the interconnectedness between femininity and nature as illustrated in Eugene O'Neill's Desire Under The Elms. It tackles the materialistic exploitation of nature as a facade of the patriarchal subjugation of women. The study examines the relationship between gender and ecological domination and investigates how the objectification of women and the exploitation of nature are interconnected in Ephraim Cabot's patriarchal household and perpetuated by the oppressive Puritan heritage. Moreover, the exposes the patriarchal dualistic connections that associate women with nature and men with social order and demonstrates how these correlations are interrelated with several binary structures. In Desire Under The Elms, women and nature are represented as inextricably allied; they are life-giving forces, fertility symbols, and maternal sources hindered by patriarchal prejudice and the oppressive Puritan heritage. By divulging the Ecofeminist theory, the study explores how the protagonists' natural surroundings have shaped their identities and influenced their choices. The study also scrutinizes how the male protagonist, Eben Cabot, suffers from perplexity of gender identification coupled with an Oedipal fixation that cloud his attitude towards nature and femininity. Finally, it proposes the inevitability of deconstructing the oppressive patriarchal heritage and recognizing humanity as an indispensable part of nature.

This paper explores the enduring relevance of Rebecca Harding Davis's Life in the Iron Mills by examining its portrayal of industrial labor struggles and connecting it to contemporary issues in American labor. Written in 1861, Davis’s novella presents a grim depiction of life for industrial workers, focusing on the physical and emotional degradation experienced by characters like Hugh and Deborah. Through rich imagery and realistic narrative, Davis critiques the exploitative nature of industrial capitalism, urging readers to confront the dehumanizing conditions faced by the working class. This paper draws parallels between Davis's 19th-century portrayal of labor exploitation and modern labor practices, particularly in industries such as meatpacking, where unsafe environments, economic exclusion, and social disregard persist. By analyzing both historical and present-day sources, this study underscores the structural nature of labor oppression, advocating for greater awareness and reform. Ultimately, it reveals that the issues Davis confronted remain alarmingly relevant, making her work a powerful call for social justice that transcends its historical context.

Evidence is presented demonstrating that the poem, "The Pumpkin," attributed to John Greenleaf Whittier, was actually written by his brother, Mathew Franklin Whittier. This discovery is then used as an example to suggest that the author's other, more controversial claims likely have merit and deserve to be taken seriously.

Review of McHenry's 2021 monograph. Argues that the book expands on McHenry's previous groundbreaking work in 19th-century Black reading history and reception studies by incorporating a wider variety of primary sources. McHenry radically and rightly expands the notion of "literariness" to include forms and works with which ordinary Black readers engaged.

Recent scholarship on Black print cultures has paid close attention to self- and independent publication. These studies tend to center writer-publishers from the antebellum and Harlem Renaissance periods, arguing that Black authors published their works out of either financial necessity or desire for editorial independence. However, the causes and meanings of Black independent publishing changed during the postbel- lum, pre-Renaissance period. In this essay, I focus on Sutton E. Griggs and Oscar Micheaux, two early twentieth-century nov- elists who labored outside of and in opposition to both the Black press and white, mainstream publishers. Ultimately, I argue that Griggs’s and Micheaux’s use of commission presses carved new paths for Black writers to dissent against emerging trends in political and literary culture: US expansionism and the early corporatization of literary publishing. This essay urges scholars to treat turn-of-the-century commission presses as neglected archives of radical texts.

Carnivals in pre-independence India had a medley of episodes-sometimes fascinating and sometimes marred by violence as such hostile incidents were mostly due to the feudalistic fabric that it worn. British ruled India presented some respite. Postcolonial India indicated a return to modernity but it was not to be. Regressive elements ducked in with myths and superstitions which stemmed the progress. Amidst this milieu, the postmodern and postcolonial elements of carnivalisation and representation have become a contested site. Mikhail Bakhtin's carnival theory assumes significance in that the problematization of carnival in the Indian scenario has resulted in a unique syndrome wherein the carnivalistic discourse is being subverted and appropriated by the forces by virtue of their dominance in power, class and the quite primitive social structure called caste. By deconstructing Mikhail Bakhtin's carnivalesque, this research attempts to explore issues like carnivalisation and its relation to hegemony, demystification, representation and social change. How far has carnivalisation affected and effected the Indian society? What are the other forces that dominate the spectrum of India's landscape? Do these elements point towards an exclusive or an inclusive India? The present discussion assumes significance due to the volatile social and political climate since 2014 due to the divisive forces in power. Some of the findings from this research pose a humungous concern, aptly aided by the postcolonial and postmodern elements coupled with the likes of corporate cannibalism. Consequently, Bakhtin's idea of carnival has been reduced to a farce here. Plurality has been sacrificed at the altar of unitary centralized structure. With regard to the notion of representation too, a similar phenomenon has struck making this postcolonial conundrum into a sham.

The most important discovery of 20th century Whitman Studies was the recovery of ten letters from Fred Vaughan to Walt Whitman which were squirreled away in the Library of Congress. These letters proved that Fred was Walt’s bedfellow in the claustrophobic madhouse that was the Whitman family home in the early 1850s. Since 1980, scholars have gradually come to the realization that Fred’s love for Walt was a key inspiration for Leaves of Grass. This essay reveals new insights into Fred Vaughan’s marriage, death, and burial. — Mitchell Santine Gould, curator, LeavesofGrass.Org — possess the origin of all poems

The paper presents an analysis of errors occurring in English essays written by Czech and Slovak university students. It distinguishes five major error types, i.e. grammatical, lexical, lexico-grammatical, text-coherence, and formal errors. The study relates the occurrence of certain error types to the linguistic and cultural background of the author of the text, and looks for possibilities of developing writing skills within academic writing courses. The paper suggests that courses focus on textcoherence, a phenomenon which has a high priority in Anglo-American written discourse and which is not specifically addressed by any other courses in Czech and Slovak university curricula. The paper outlines some successful strategies in writing coherent and effective texts.