American Literature

A modernidade ocidental é associada à imposição de novos valores ligados à religião, Estado, indivíduo, e também à imposição de fronteiras entre cultura e natureza. Ao longo do século XVIII e XIX, a hegemonia da sociedade moderna vislumbrou seu ápice. Nesse contexto histórico de transformações culturais, surgiram textos literários do gênero "pós-apocalíptico", imaginando o fim do mundo não por elementos divinos associados à escatologia religiosa, mas através da ideia de "Natureza" e suas potencialidades destrutivas, como desastres ambientais e epidemias. O presente trabalho aborda algumas visões presentes em tal literatura como fruto de ansiedades para com o futuro e leituras críticas do mundo moderno. Nossa hipótese é de que o "apocalipse secular" literário representa, sobretudo, o fim do moderno, de seus valores e crenças, quando levados à exaustão. Pensamos a literatura pós-apocalíptica na perspectiva da História Ambiental e da Ecocrítica, visando explicitar a percepção crítica da civilização moderna e a projeção de um futuro ambiental do planeta em que a natureza selvagem restaura sua hegemonia, conforme imaginado por escritores de língua inglesa, em obras escritas entre os anos 1800 e 1950. Palabras-chave: literatura pós-apocalíptica; modernidade; história ambiental; ecocrítica.

A modernidade ocidental é associada à imposição de novos valores ligados à religião, Estado, indivíduo, e também à imposição de fronteiras entre cultura e natureza. Ao longo do século XVIII e XIX, a hegemonia da sociedade moderna vislumbrou seu ápice. Nesse contexto histórico de transformações culturais, surgiram textos literários do gênero "pós-apocalíptico", imaginando o fim do mundo não por elementos divinos associados à escatologia religiosa, mas através da ideia de "Natureza" e suas potencialidades destrutivas, como desastres ambientais e epidemias. O presente trabalho aborda algumas visões presentes em tal literatura como fruto de ansiedades para com o futuro e leituras críticas do mundo moderno. Nossa hipótese é de que o "apocalipse secular" literário representa, sobretudo, o fim do moderno, de seus valores e crenças, quando levados à exaustão. Pensamos a literatura pós-apocalíptica na perspectiva da História Ambiental e da Ecocrítica, visando explicitar a percepção crítica da civilização moderna e a projeção de um futuro ambiental do planeta em que a natureza selvagem restaura sua hegemonia, conforme imaginado por escritores de língua inglesa, em obras escritas entre os anos 1800 e 1950. Palabras-chave: literatura pós-apocalíptica; modernidade; história ambiental; ecocrítica.

n the eighteen-thirties and eighteen-forties, Nathaniel Hawthorne (1804-64) was a young writer trying to make a living by submitting sketches, tales, and short stories to periodicals and gift books. Having declined his mother's suggestion to pursue a career in medicine, at Bowdoin (1821-25) Hawthorne studied classics and philology. He went on to position himself as a social critic aloof from all of the professions and as a keen observer of his contemporaries' foibles and obsessions. Hawthorne's life coincided with a period of intense struggle in American medicine between academic, or "regular," medicine and a multitude of alternative healing systems, collectively referred to as "irregular" practices, such as Thomsonianism, homeopathy, eclecticism, and water cure. As regulars and irregulars vied for the public's trust and business, each touted the virtues of their own cures. College-educated physicians, following Benjamin Rush's heroic revolution in therapeutics, turned away from complex medicines with dozens of ingredients and began using heavy doses of opium, mercury, antimony, quinine, and arsenic, along with blood-letting by leech or Nathaniel Hawthorne's stories "The Rejected Blessing" and "Rappaccini's Daughter" dramatize ideological competition among doctors and clergymen from Renaissance Italy to colonial Boston over care of the body. In the context of Hawthorne's life, these stories show his foresighted theorizing of medical hegemony and its dangers to public and individual health.

Published through the Studies in Comics and Cartoons series at Ohio State University Press, Daniel Worden's Petrochemical Fantasies offers analysis of several connective tissues betwixt American comics and the solidification of the fossil fuel industry in the United States. Thinking well beyond the content of comics that frequently linked industrial energy to the powers of superheroes, Worden's historical narrative explores diverse material aspects that nourished links between fossil fuels and graphic narratives within the American public sphere. Combining a history of comics with an activist concern for the declining health of the Anthropocene, Petrochemical Fantasies breaks new ground for understanding how Comics Studies can dig in against the modern abusers of the earth.

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.

This thesis re-examines the purpose and value of New England women's local color fiction, asserting that local color functions as the groundwork on which the standards and practices of literary realism are based and as the way that nineteenth-century women writers could promote their domestic ministry. Furthermore, the thesis maintains that Stowe, Freeman, and Jewett utilized literary realism to publicize alternative theologies and progressive communities. 2 and unjust restrictions placed upon the female role by society" (11). These local colorists embraced literary realism and used the tenets of the nineteenth-century American literary movement in their own "woman-identified realism" (Donovan's term) that depicts glimpses into what they want their readers to believe is exemplary of real life. Literary realism is, broadly, representative of life. Typically, realists use the novel to explore ordinary people and situations. Often they utilize particular attention to detail and fully describe location, time, and place, in order to authenticate the stories they present. Furthermore, literary realism deals with the ordinary and values character over plot (Pizer 1966). Local color manages to fulfill the criteria for literary realism while using geographically specific details such as community character or personality and dialect. These women writers found an already existing faction of literary realism, local color, they could make their own, while exposing themselves to mainstream literary and public life. By publishing works that promoted their principles and morals, these women local colorists sent their message outside the home and into the public realm. As women, becoming writers was a challenge simply because of the weighty domestic duties and the social role for which they were responsible. Therefore, Stowe, Freeman, and Jewett faced a tremendous challenge of living in both public and private spheres. Unlike women Sentimentalist writers who were popular during the nineteenth century, these three women, as well as some of their fellow female local colorists, did not compose fictional stories about heroines whose linear narratives culminate in marriage and end before domestic life ensues. Following in the new practice of literary realism that attempts to disguise its own fictitiousness, local color fiction often features the "home 3 plot" (in Ann Romines's words), a sketch of or a glance at simulated real life. However, women's local color fiction, as a practice in "woman-identified realism," goes even further to suggest its "realness" by not necessarily ending the story after marriage. Besides, many of the female characters in Stowe, Freeman, and Jewett's fiction never marry. Therefore, instead of writing linear narratives about courtship and marriage, women local colorists wrote cyclical narratives about people, places, and situations they knew. These women writers knew about family, home, and domestic ritual, and by writing and publishing, they used their realm of knowledge and experience to exist within both the private and public spheres. How Stowe, Freeman, and Jewett made use of local color fiction will serve as the primary focus of the following chapters. Critics disagree whether these writers chose to write their local color fiction as a literary, aesthetic endeavor or as a social, political one. Richard M. Weaver's "Realism and the Local Color Interlude" from 1968 suggests that, although the local color movement received harsh criticism for its limited subject and character matter, it should be praised for its refusal to address national political themes (301-2). Other readers, however, appreciate local color fiction not because of its lack of political and social concern and its loyalty to interesting, even eccentric characters but because of its wealth of "national" commentaiy. Weaver holds a limited view that the woman-identified realism of local color contains no value other than artistic or aesthetic importance. The text of the following chapters argues quite the opposite. These three local colorists use the elements of literary realism including careful character portraiture, meticulously detailed descriptions, and realistic portrayals of ordinary life, to express 4 crucial issues of real political importance to women writers and readers. Stowe maintained a natural ability to minister because of her family's historical religious service as ministers and teachers, but she could not work as a professional minister since she was female. Freeman wanted to support herself and a sick aunt early in her writing career, and later she continued to write in order to afford luxuries. Apparently, she believed that women could support themselves; many of her female characters reflect that same self-sufficiency. Jewett visualized a female Utopia, and her community of women in The Country of the Pointed Firs enjoyed the same egalitarianism and comradery she shared with her own personal community of women. By examining Stowe's Oldtown Folks, select short stories in Freeman's "A New England Nun" and Other Stories, and Sarah Orne Jewett's The Country of the Pointed Firs, as not only literary works but as literary works with social and political agendas, one may see these women local color writers in a different light. In analyzing these works, an understanding and appreciation should be gained of the power of women's local color fiction that has been marginalized for decades as not quite literary realism and, therefore, not quite important enough to include in the canon. Furthermore, this thesis approaches the fiction of Stowe, Freeman, and Jewett as the writers' efforts to test the boundaries imposed upon them as women and to propound their progressive domesticity, their domestic ministry, in hopes of improving and transforming their society. As a result, the project challenges traditional views of local color and will offer a new way of thinking of this particular movement in American literature.

Here in the UNLV English department we have tremendously enthusiastic World Literature instructors. They teach ENG 231 and ENG 232, World Lit I and II, respectively, which are, according to the catalogue, "Second-Year Seminar (SYS) courses that explore issues relevant to contemporary global society through the reading of original literature from antiquity to the present day." The seminars are general-education classes designed to give UNLV sophomores a better understanding of the value of the literary traditions of diverse authors-some ancient and obscure, others alive and writing. World Lit is, frankly, taught by people who simply love literature. Any class that covers everything from The Epic of Gilgamesh to Don Quixote (texts taught in ENG 231), or sprints from Matsuo Basho to Isabel Allende (authors discussed in ENG 232), requires confident instruction from gifted scholars who love illuminating the depth and power of writings from every culture. As the coordinator for the World Literature seminars in the Department of English, I recruit and support graduate students, and undergrads, who show enthusiasm for canonical texts and for the literature of marginalized voices. When I saw the call for papers for the 2 nd Annual Graduate Student Conference titled "Games, Sins & Mafia," which was sponsored by UNLV's World Languages department, I encouraged my best instructors, and one of my top undergraduate English majors, to submit abstracts. Their papers were accepted. Manuel Rodriguez-Perez was the M.A. student who ran the conference in March 2019. He has gone on to pursue/complete a Ph.D. in the Department of Spanish and Portuguese at the University of Kansas. In his last semester here, Manuel did a superb job curating a one-day event that fostered conversation about Latin American and Iberian literature from all centuries and genres. Indeed, the papers collected in these proceedings run the gamut from Panamanian-American poet Roberto Harrison, to Mexican author Juan Rulfo, to Brazilian novelist and short-story writer Clarice Lispector. The conference marked a significant collaboration between grad students in World Languages and grad students in English. We hope this partnership continues to grow, because there is more work to be done in celebrating the richness of literatures from all over the world. Indeed, the next generation of academics and critics is developing right here at UNLV, and I look forward to seeing what research they conduct as they expand the canon and highlight neglected voices.

Post-Revolutionary America promised not just a transformation in government but a transformation that extended to the depths of the very character of American society itself. Thomas Paine exclaimed in 1782, “We are now really another people.” Benjamin Rush, public intellectual of the time and signatory to the Declaration of Independence, declared, “Every man in a republic is public property.” This ethos of the self enjoined that citizens put the public good before private interests. Concurrently and conversely, the Enlightenment project was defining the self in possessive individualist terms. One owned one’s self and talents, owing nothing to society for them, reaping the benefits by selling oneself freely on market. These dual concepts of the self informed such Republican debates as to whether the accumulation of wealth was consistent with, even definitive, of freedom, or antagonistic to it. The debate hinged on how the self was conceived—as embedded in social relationships such th...

Kaplan cita l'esempio di Sergei Eisenstein, che si riferisce al cinema russo degli anni Venti del novecento come a un luogo "with unimaginably great possibilities" e usa l'espressione "[w]e came like bedouins [… and] pitched our tents" (cit. in ivi, p. 65).

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Americans often associate travel with luxury, a cosmopolitan lifestyle, and relaxation. They travel to “get away from it all.” Most fail to consider that modern American travel began in the straitened circumstances of the 1930s, when President Franklin D. Roosevelt encouraged citizens to tour the United States so as to stimulate the economy. The Federal Writers’ Project composed guidebooks for each state, and tourism became a form of national solidarity.

After World War II, the Western frontier of self-reinvention and spatial expansion opened up through the explosion of the global travel industry. The Global Frontier shows that a variety of postwar literary travelers sought personal freedom and cultural enrichment outside their nation’s borders, including Black, female, and queer writers. But the price of incorporation into a transnational leisure class was complicity in postwar American imperialism and the rejection of 1930s social commitments. Eric Strand argues that capitalist globalization has enabled creative expression for marginalized identities, and that present-day humanists are the descendants of writers such as William S. Burroughs, Saul Bellow, Richard Wright, and Elizabeth Bishop. Yet this personal liberation has accompanied a vast growth of social inequality, which can only be addressed by reorienting toward progressive nationalism and an activist state.

This paper examines the conditions of possibility for realism in several fields of contemporary culture-literature, painting, film, and TV news. It is argued that contemporary texts mobilize novel resources for the representation of the real. Realism in these works no longer takes the form of a seemingly self-evident mirroring of the world. Instead, the work of representation unfolds along several axes-fact-finding, metadiscourse, contractual negotiation, and praxis. Accordingly, contemporary realist texts display a hybrid make-up, mingling elements of classical mimesis and postmodernism. The essay indicates how this complex set of representational strategies informs alternative film-making (David Cronenberg's eXistenZ, Lisa Cholodenko's High Art), live TV news coverage of the 2003 Iraq campaign, and Michael Moore's documentaries.

Eric Katz has recently claimed not only that rewilding is inherently paradoxical, but also that its paradoxes reveal rewilding's implication in the very mindset of anthropocentric domination against which it is floated as a partial solution. In this paper, I argue that rewilding need not in principle be committed to a pernicious anthropocentrism. With the assistance of an important distinction between 'synchronic' and 'diachronic' wildness, I firstly argue that rewilding need not be viciously paradoxical in any unequivocal sense. I then suggest, with the aid of Henry David Thoreau's account of synchronic wildness, that rewilding might rather be geared to inculcate hypersensitivity to nonhuman otherness particularly conducive to an anti-domination mindset. Hence rewilding may remain a live tool in responding to the challenges which characterise our shared world.

From the country's beginning, essayists in the United States have used their prose to articulate the many ways their individuality has been shaped by the politics, social life, and culture of this place. The Cambridge History of the American Essay offers the fullest account to date of this diverse and complex history. From Puritan writings to essays by Indigenous authors, from Transcendentalist and Pragmatist texts to Harlem Renaissance essays, from New Criticism to New Journalism: The story of the American essay is told here, beginning in the early eighteenth century and ending with the vibrant, heterogeneous scene of contemporary essayistic writing. The essay in the US has taken many forms: nature writing, travel writing, the genteel tradition, literary criticism, hybrid genres such as the essay film and the photo essay. Across genres and identities, this volume offers a stirring account of American essayism into the twenty-first century.

The horror genre has long grappled with its portrayal of disability, often reflecting the societal prejudices of its time. Emerging alongside early cinema, many early horror works were influenced by eugenic ideology, rooted in Victorian advancements in science, technology, and pseudoscience like degeneration. These theories positioned
disabilities as markers of a “less evolved” human prone to immorality and criminality, promoting a constructed ideal of bodily “perfection.” As horror reflects societal anxieties, early films mirrored fears of the “monstrous other,” often emphasizing science and rationality to defeat such threats, aligning with eugenic thought. Historically, individuals with physical or mental impairments have been depicted as either weak and vulnerable or as archetypes of evil, chaos, and social disorder. While these representations reflect entrenched prejudice, they are not unique to horror and unfortunately mirror broader societal biases.

I contributed entries on The Elephant Man (1982) and The Ableist Gaze and the Horror of Becoming Disabled.

This dissertation explores the efforts of abolitionists in the antebellum United States to recruit children to join in their battle against slavery. From the very beginnings of this movement, abolitionists understood that reaching adults would be virtually impossible and turned to children, whom they considered to be natural enemies of slavery, to become the catalyst which they believed would inspire people across the nation to combat slavery and successfully seek its end. Abolitionists constructed a new model of childhood which viewed children not as people who needed to be taught obedience, but people who needed to be instructed in ways that they could change their world for the good of the slaves. To this end, abolitionists taught children several ways to join the fight against slavery and proposed a childhood in which every area of life was devoted to the antislavery cause. Abolitionists provided a wealth of materials to train these children theologically to hate slavery and lov...

Novels of Faulkner, Warren and Morrison. Doctor of Philosophy (English), December 2000, 238 pp., Works Consulted, 115 titles. Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.

My dissertation posits an essential relationship between the spontaneous compositions of John Coltrane's late period, his musical evolution from his formative years to the end of his career, his spiritual development, and the socio-culture in which he lived and created. Because of this interdependence, I also propose that racism in American society had a significant negative impact upon the music of this African-American composer and his musical colleagues in numerous ways.

Marvels of the Invisible. Doctor of Philosophy (English), May 2015, 84 pp., references, 9 titles. This dissertation is comprised of a collection of poems preceded by a critical preface. The preface considers the consumed animal body as a metaphor in contemporary American poetry, specifically in the works of Galway Kinnell, Li Young Lee, and Brigit Pegeen Kelly. The consumption of the mute creature allows the poet to identify the human self in the animal other, and serves as a metaphor for our continuity with the natural world. I revise Owen Barfield's notion of "original participation," positing that through imaginative participation, the poet and the reader can identify the animal within the self, and thus approach a fuller understanding of both the self and the outside world. We identify the animal other within the human self, and in of this act of relating, we are able to temporarily transgress the boundaries of the individual self to create art that expresses continuity with the outside world. This argument brings about a discussion of text as an act of consumption, and the way and which this can symbolize the ways in which the self is altered through the act of reading. The book-length collection of poems, entitled Marvels of the Invisible, won Tupelo Press's 2014 Berkshire prize for a first or second book of poetry. The poems look to sources like 17 th and 18 th century scientific letters, modern and contemporary art, and recent studies in biological phenomena in order to parse the intersection between personal experience and the outside world. The title of the collection points to the conceptual interests of the book: through the lens of scientific phenomena, memory, and personal history, one begins to see that what seems very small (the ant under a microscope, a Russian nesting doll, two people on horseback) are, in fact, individual offerings that articulate one's place in the cosmos. The collective voice I advocate in the critical preface appears in these poems, especially "Echolocation," "My Name in Sleep," "Civilization," and "Narrative," all of which make use of the animal-as-metaphor. This collective voice is particularly female, and deals with motherhood, loss, and childhood experience. Poetry, as part-myth, longs to transgress the felt boundaries of the self; it must see that self as inextricably dependent on the natural world.

This dissertation is comprised of a collection of poems preceded by a critical preface. The preface considers the consumed animal body as a metaphor in contemporary American poetry, specifically in the works of Galway Kinnell, Li Young Lee, and Brigit Pegeen Kelly. The consumption of the mute creature allows the poet to identify the human self in the animal other, and serves as a metaphor for our continuity with the natural world. I revise Owen Barfield’s notion of “original participation,” positing that through imaginative participation, the poet and the reader can identify the animal within the self, and thus approach a fuller understanding of both the self and the outside world. We identify the animal other within the human self, and in of this act of relating, we are able to temporarily transgress the boundaries of the individual self to create art that expresses continuity with the outside world. This argument brings about a discussion of text as an act of consumption, and the ...

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

The secularization thesis is dead. There is no doubt whatever about that. Over years that have begun to stretch into decades, through the work of a diverse array of scholars-from Talal Asad, José Casanova, Saba Mahmood, and Charles Taylor, down to Americanists like Tracy Fessenden, Toni Wall Jaudon, Kathryn Lofton, John Modern, and Michael Warner-the notion that something called "secularization" provides an adequate conceptual framework for the post-Enlightenment movement of bodies and belief, of thought and authority, has come under sustained and multidimensional assault. We have become, as the term goes, postsecular, to the degree we understand those assaults to have been, finally, cumulatively, fatal. It's a fairly noncontroversial position at this point, as stated by Asad way back in 2003: "If anything is agreed upon, it is that a straightforward narrative of progress from the religious to the secular is no longer acceptable" (2003, 1). Disenchantment, a swing from superstition to rationality, credulity to skepticism, eschatological fanaticism to liberal tolerance: ours is a scholarly moment no longer persuaded by the clarities of these stories of modernity, nor by the neat dichotomies nested within them. So the secularization thesis is dead. This must be distinctly understood. To be clear, this sense of the postsecular does not carry with it a particular historical claim, as opposed to the desecularization narrative recently offered by the chastened secularization theorist Peter Berger

Drawing from "La bustina di Minerva" by Umberto Eco published in L'Espresso in December 2003, this short investigation will attempt to establish significant connections between post-apocalyptic science fiction and the enunciative strategies used by current media in the depiction the future since the onset of Covid 19.

Ovaj rad obuhvaća pristupe suvremenih stranih i hrvatskih teoretičara ženskih žanrova. U radu su obuhvaćene analize određenja polja ženskih žanrova te analiza ženskih žanrova kroz književne i audio-vizualne publikacije. Problematika se ženskih žanrova javlja na području određenja tog pojma, teorijska je literatura o tome sve brojnija, no još uvijek se ženski žanrovi ne mogu točno odrediti. Prihvaća se mišljenje da su ženski žanrovi tekstovi popularne kulture čiji su recipijenti žene te su to i svi oni aspekti ženske kulture, kao što su moda, kozmetika, šivanje, pletenje i slično. Pojmovi žensko pisanje, identitet i tijelo nužni su u proučavanju teorije ženskih žanrova. Žensko je pisanje specifično, teoretičarka Eleine Showalter uvodi pojam ginocentričnost kojim označava ženski jezik i žensko stvaralaštvo. Žensko se pisanje nadovezuje na razumijevanje identiteta te će u radu biti objašnjeni pristupi identitetu u moderni i postmoderni. Identitet je središnja točka ženskog pisanja, jer se ženski žanrovi bave rodnom teorijom koja obuhvaća rodne odnose, položaj žena i mušku dominaciju. Tijelo je vanjska oznaka žene uz koje se vežu moda i konzumerizam kao karakteristike ženskih žanrova. Serije i sapunice su prikazane kroz teorijsku literaturu o gledateljicama i kroz kritiku feministica koje osporavaju njihovu pozitivnu učinkovitost na suvremene recipijentice. U književnosti je slična situacija, opreke između trivijalne i ozbiljne književnosti najviše dolaze do izražaja jer se ljubavnim i chicklit romanima najviše zamjera na trivijalizaciji. Ljubavni i chicklit romani imaju čvrsto zadane norme u kojima se njihova radnja odvija, a najveća razlika je u prikazu subjekta koji je u ljubavnim romanima neaktivan, dok je u chicklit romanima on aktivan. Ženskim žanrovima pripadaju još djevojačka književnost i časopisi, no to u radu neće biti obrađeno.

The Love Song of J Alfred Prufrock is a poem written by T S Eliot which mainly takes into account the love affair of a middle aged man who finds it extremely hard to express his love for his young lady. This leads him to hesitation and psychological turmoil. The selection of words, the varied division of stanza, the nontraditional poetic language and blank verse represent the mental state of the narrator. The writer ,in the current study, uses Russian Formalism, especially defamiliarization (which means making something strange and novel) to analyze the artistic value of the poem. The study at hand due to its theoretical approach mainly focuses on the formal details of the poem, without taking into account the content of the poem. T S Eliot's The Love Song of J Alfred Prufrock, though deviant from traditional poetic art, is replete with formalist ideals. It achieves this effect through foregrounding, defamiliarization, recurrent motifs, plot and narrative and thematic diversity.

This research explores the prophetic elements in Ray Bradbury's Fahrenheit 451 and their relevance to contemporary society. While the themes Bradbury presents may have seemed far-fetched to his contemporaries, the realities of the 21st century compel us to confront the accuracy of his warnings. A universal cultural practice using fairytales to shape children's moral understanding serves as a bridge between the novel's dystopian themes and the real world. Fahrenheit 451 offers a powerful tool for raising awareness among younger generations about the dangers of government manipulation and the potential suppression of free thought, encouraging them to resist public opinion victimization.

O ensaio discute os deslocamentos da palavra museu na novela A invenção de Morel (1940), de Adolfo Bioy Casares. Mediante esse exame, procura cavar uma relação entre os mitos miméticos e a máquina de Morel, na ilha museu. Um dos objetivos de pensar a produção de imagens e sua circulação
ininterrupta é discutir os sentidos que podem conter o museu, enquanto edifício material e simbólico. No ensaio, esse regime imagético se aproxima dos deslocamentos da palavra museu, via a clássica interdição: proibido tocar! Por último, discutir (à deriva) os usos do museu, na novela de Bioy Casares, é uma tentativa de propor outros métodos para a escrita da história da arte que exponham, ainda que implicitamente, o colapso da representação.

At the turn of the twentieth century, wage-earning women in progressive America had to succumb to a vicious, precarious system in which they were disadvantaged when compared to their male counterparts. In an attempt to illuminate on the working girl problem in big cities, Dorothy Richardson, a reporter from the New York Herald, took up undercover investigative journalism, publishing her experiences in The Long Day: The Story of a New York Working Girl (1905). In her novel, Richardson stipulates trades-training and reminds her readers of the necessity of protective legislation. Introducing the life of her heroine as desirable, she emphasizes the value of a strenuous life, showing her readers how to climb up the social ladder towards the American dream.

The current paper examines the application of text-world theory to Wyndham Lewis's fascist writings, particularly Hitler (1931) and The Jews, Are They Human? (1939). In these polemical works, Lewis builds immersive ideological "text-worlds" that mirrors authoritarian and exclusionary viewpoints, portraying his contentious political beliefs of the 1930s. Applying text-world theory as an analytical structure, this study unravels how Lewis's language creates cognitive spaces where readers are placed within a perspective that accentuates order, hierarchy, and social purity. By setting a deictic center that is anchored in authoritarian values, Lewis immerses readers in text-worlds where hierarchical authority is represented as natural and desirable. Key text-world techniques, such as metaphor, epistemic modality, and counterfactuality, are shown to strengthen ideological themes by shaping social barriers and presenting in-groups as morally superior. The paper, then, analyzes Lewis's deictic centering and metaphorical language, which construct social purity and contamination as oppositional forces within the textworld.

UDK 949.712(05) UDC Zgodovinski HISTORICAL REVIEW časopis GLASILO ZVEZE ZGODOVINSKIH DRUŠTEV SLOVENIJE Mednarodni uredniški odbor: dr. Kornelija Ajlec (SI), dr. Tina Bahovec (SI), dr. Bojan Balkovec (SI) (tehnični urednik), dr. Rajko Bratož (SI), dr. Ernst Bruckmüller (AT), dr. Liliana Ferrari (IT), dr. Ivo Goldstein (HR), dr. Žarko Lazarević (SI), dr. Dušan Mlacović (SI) (namestnik odgovornega urednika), dr. Božo Repe (SI), dr. Franc Rozman (SI), Janez Stergar (SI), dr. Imre Szilágyi (H), dr. Peter Štih (SI) (odgovorni urednik), dr. Marta Verginella (SI), dr. Peter Vodopivec (SI), dr. Marija Wakounig (AT)

namely professor Teresa Alves and professor Teresa Cid, who both gave me support and encouragement. This volume could not also have been completed without the finantial assistance of FCT (Fundação para a Ciência e Tecnologia) to the Do You Bowles? International Conference on Paul Bowles in 2010. My appreciation of their generous support is high. I wish to thank Henry Veggian, the editor of the Dialogue Series, for his interest in the work at large, and also to Masja Horn at Rodopi, for her helpful assistance. I would like to acknowledge all contributors who endured such a hard work without losing their breath in what turned out to be a long journey. My sincere appreciation to all. And, of course, to the Delaware University, Tim Murray and Francis Pool, who were enthusiastic all the way. Also to L. Rebecca Johnson Melvin who provided Paul Bowles's images for the cover. A note of appreciation is due to the Harry Ransom Center, for the authorizations regarding Paul Bowles's materials, to Irene Herrman who generously provided musical scores to contributors and to the literary executors of the author's ouevre. Last but not least, I would like to thank my closest friends and family who gave me support and cherished the making of the present book. The present book is the result of a successful international conference held in Lisbon in 2010 to celebrate Paul Bowles's 100 th birthday (www.doyoubowles.com). The American Studies Research Group at the University of Lisbon Center for English Studies (ULICES), organized the meeting and gathered writers and speakers from all corners of the world to honour Bowles's centennial. From the beginning, the organization aimed at bringing forth the diverse aspects of the author's work, both in literature and music, and at the same time draw in an international team of experts, scholars, authors and artists who shared creative research. We proudly present in the current volume twenty-five essays from the conference. From Europe to North Africa, North America and Japan, to a no man's land or new maps of global cooperation and sovereignty, the writings propose new approaches to Bowles based on his multiple interests in the fields of literary and musical production. It is not so much an interdisciplinary line of thought and critical analysis we aim for as a non-disciplinary critical method, a world-body of connections always on the move to the next direction, an actual nomadic stance on artistic and creative potential analyzed from a variety of perspectives. We are accustomed to think about Bowles as a gentleman, a classic writer who lived an exotic life in far-off countries, a hip American artist connected with the Beat Generation (but of a more elegant line) and we can even grant him a place in the late modernism canon (trusting it will exist), alongside Djuna Barnes, Gertrude Stein and other modernist provocateurs. However, it is hard to believe such a writer and composer is included in more radical branches of literature and thought, due to his insistence on fine writing and proper English, economy of means and Paul Bowles Now and Then 19 Thus, engaged with modernism but in a provocative way, Christopher Leslie proposes a reading of Bowles's The Sheltering Sky as a critical statement on the modernist project itself, via (and against) Gertrude Stein. In "Aesthetic Tourists: The Sheltering Sky's Critique of Modernism," Leslie argues: [that] while modernism did provide a mechanism for artists to take an outsider's look at language and society, it was unable to assist real people in contexts radically different from the ones they were used to. And he systematically provides a close reading of the main characters in the novel, Port and Kit, and biographical and autobiographical materials that support a planned and derisory attitude of Bowles towards the modernist sensibilities of the protagonists of the story. Modernist techniques, he notes, are not the best way of seeing the world, especially when the world "is an environment that does not lend itself to this methodology." To "make it new," then, is not enough, and the result is the annihilation of Port and the mad wandering of Kit, whose ultimate experience in the desert and survival does not enrich her but degrades her. Relying on a dialogue between American literature and transatlantic and transnational ideas connected with modernism and modernity, Benjamin Heal's essay, "American Existentialism and Surrealism in Paul Bowles's 'The Scorpion' and 'By the Water,' Jack Kerouac and William S. Burroughs's And the Hippos Were Boiled in Their Tanks," provides an examination of the alienated self, folklore and the idea of "primitivism" in Bowles's short stories, revealing its European artistic imaginary based on Existentialism and Surrealist techniques, and underlines the fact that "Burroughs and Kerouac were looking beyond America for their influences, at ideas that hadn't hit America yet." He traces Luis Buñuel, Jorge Luis Borges, André Breton and Sartre as possible sources of inspiration for Bowles in the particular making of Hippos. Although not following a comparative analysis between these literary works, he nevertheless underlines their importance in the post-war period "in presenting an American literature that has "lost innocence." The next essay, "The Importance of Place and Space in Paul Bowles's Short Fiction," begins with a suggestive quote from the author -"What You Do Is Nearer to What You Are than What You NOTES 1 All quotes from conversations with Bowles and others who knew him are recorded