Journal articles on the topic 'Poets, english – fiction'

V. S. Naipaul is an eminent literary figure in the field of modern fiction, non-fiction, and travelogue writing in English literature. He earned a number of literary awards and accolades, including the covetous Nobel Prize and Booker Prize. His non-fiction e.g., An Area of Darkness, India: A Wounded Civilization, The Loss of El Dorado, India: A Million Mutinies Now and Beyond Belief are a realistic portrayal of the various types of religion, culture, customs, and people of India. As an author, the main purpose of V. S. Naipaul is to deliver the truth; because poets are the unacknowledged legislators of mankind. The fact that V. S. Naipaul has presented in his non-fiction is more authentic and realistic than that of his fiction. Nonetheless, it is fictional work that is elaborately explored, discussed, and analyzed in abundance. On the other hand, his non-fiction, by and far, remains aloof. In the last few decades, non-fictions are also taking the ground strongly. Now non-fiction writings are being analyzed, elucidated, and explored based on various theoretical principles of literary criticism. V. S. Naipaul carried the new genre to new heights and achievements. He is of Indian descent and known for his pessimistic works set in developing countries. He visited India several times, like Pearl S. Buck and E. M. Forster. So, his presentation of Indian religion, society, culture, and politics are very realistic. His vision and ideas are very close to the modern thoughts and visions of both the east and the west.

The article discusses the use of the authentic film at the lessons of English to expand the vocabulary of students. Working with the vocabulary of the feature film "Dead Poets Society" allows to see the possibilities of using each of the three functional styles - official, scientific and poetic styles. Lexical analysis of the speech of the main characters of the film - the official and scientific language of the director and teachers of the school and the poetic language of the teacher of literature Keating - helps to reveal the character of each personage. Particular attention is paid to Latinisms in the speech of teachers, as an element of the academic tradition in European culture, as well as the language of fiction prose and poetry, which is included in the film through quoting poems by romantic poets. Contrasting the dry, "dead" language of the director and his supporters and Keating's "living word" creates dramatic tension and helps to better understand the essence of the depicted conflict. As a consolidation of the studied vocabulary, written creative work is proposed, expanding not only the lexical reserve, but also the general cultural training of students.

The long awaited publication of Madeline G. Levine’s retranslation of Schulz’s fiction has sparked new interest in the reception of Schulz in English-speaking countries. In Poland, the general view seems to be that the author has not received the attention he deserves. Based largely on a review non-specialized periodicals from 1963–2018, the paper presents a strong and lasting trend in the reception of the English Schulz, namely the admiration of hosts of fellow authors: writers of high-brow and popular fiction, poets and playwrights from the whole anglophone world, form Australia to Canada. Examining their reviews of Schulz’s stories, interviews and articles promoting their own work, and intertextual references to Schulz which some of them employed, the paper adds some a new names to the small handful of Schulz-loving anglophone authors of whom Polish scholars have been aware so far.

Jeet Thayil is a versatile figure in Indian Literature whose contributions to world literature includes many poems, novels and music. His song collection include Gemini (1992), Apocalypso (1997), English (2004), These Errors Are Correct (2008). He also edited many books, which includes Divided Time: India and the End of Diaspora, The Bloodaxe Book of Contemporary Indian Poets and 60 Indian Poets. He is famous for his first novel Narcopolis, which is set in Mumbai. This work is shortlisted for Man Booker Prize for fiction in 2012.Gyan Prakash is another important figure in modern historic India whose handouts lead India through a focus of wealth and secured life. He is also a professor of history and included as a member of subaltern studies. Prakash’s writings mainly focus on problems of post colonialism. His famous work is Mumbai Fables: A History of an Enchanted City. This paper tries to find out the history of Mumbai Metropolis with the comparison study of Jeet Thayil’s Narcopolis and Gyan Prakash’s Mumbai Fables. Both these works shows the hidden history of Mumbai with its both positive and negative structures.

The depiction of the class struggle features prominently in the American canon of the first half of the 20th century. However, the emphasis has been almost exclusively on prose fiction to the exclusion of the works of poets such as Claude McKay, one of the central figures of the early Harlem Renaissance and the leading figure among socially engaged English-speaking poets at the time. The article redresses this imbalance by drawing attention to McKay’s socially engaged sonnets, which helped to expand the horizons and culturally empower the exploited poor in America (and by extension the proletariat in England) to resist and overcome racist ideology in their common struggle for universal social justice. McKay makes use of a traditional, highly aestheticized sonnet form, while giving it a new ethical premise and fresh impetus.

The article discusses various ways and means of implementing aesthetic education in the classroom and during non-school hours. The authors note that a special place in the education of an aesthetic personality is occupied by art, which embodies the aesthetic category of beauty. For this purpose, excerpts from works of fiction (for example, poems) and other works of art (paintings, movies, etc.) are used to work on language material. The main goal is to form a taste for the beautiful, the ability to read aloud and listen attentively to the poems of English poets, and then express your impression and share your thoughts, repeat or learn lexical and grammatical material. One of the inexhaustible sources of spiritual development of students is poetry. In addition, in foreign language lessons, poetic works are studied for practical purposes: for the formulation and improvement of pronunciation, illustration and memorization of grammatical material, the development of listening and speech skills. Familiarization of students with English and American literature provides an excellent opportunity for the development of their philological flair and literary taste. This allows them to feel the value of the word, responsibility when operating with the word, sharpens their ability to understand and feel the subtle nuances of the word in each language.

Abstract This article examines the reception of Edgar Allan Poe in modern Persian literature with regard to his fiction and theory of writing. There have been scattered pieces written on Poe’s influence on Iranian poets and writers in Persian or English, but this article aims to offer a fairly comprehensive picture of Poe in Iran in general with a focus on his influence or affinities with two leading Iranian authors, Sadeq Hedayat and Sadeq Chubak, as far as female characters are concerned. The article at first surveys how Poe was introduced into Persian literature and then it studies personal, social, political, and historical backgrounds in classical and modern Persian literature that determined men’s taking a misogynous approach. A comparative study of representative works of Hedayat and Chubak reveals conscious alignment with Poe’s ideas. Confessionary monologues, gloomy atmosphere, and the lack of proper dialogues between men and women mark their writings. The article concludes that although patriarchy has been responsible for these two writers’ failures to overcome gender stereotypes, their acquaintance with Edgar Allan Poe had its impact on aggravating such tendencies.

The problem of Nabokov’s artistic identity is relevant for contemporary literature studies. The researchers interpret writer’s estimation of his Russian works differently: in his American years, Nabokov (1) created a new artistic identity (A. Dolinin) and started a new career (N. Cornwell) or (2) developed his general themes (B. Boyd), targeted at English readers. The unique status of the texts written in French is defined by their “phantom” nature (M. Malikova) and the “final work with the literature legacy” (A. Babikov). In our research, the problem of Nabokov’s identity is analyzed for the first time in its connection with the methods of creation of the “phantom” fictional world. Our research subject includes the poem “The Poets” and the short story “Vasiliy Shishkov”. The texts are considered within the literary-critical and artistic contexts. The purpose of this article is to determine how the reflection of one’s own and other people’s creativity is built in these works, taking into account that perceptual imagery serves as tools for aesthetic assessment for Nabokov. The main research method in the work is structural-semiotic analysis: perceptual images are characterized by the variety of their localization, by the method of creation and distribution, by their attitude to the background, etc. The structural-semiotic approach to the analysis of literary texts has revealed the value of “phantom” or “distinctness” in Nabokov’s artistic optics. The intensity of sensations is directly related to the status of the subject of perception and to its position in the hierarchy of fictional worlds (Vasily Shishkov is the fiction of the narrator, the narrator is the fiction of the emigrant writer Nabokov). The impossibility of reliable perception, its continuity and limitation within the framework of an entire era or individual life are assessed by Nabokov as important conditions for creative development, especially significant in a situation of reflection on a new addressee art creation.

Indian Writing has turned out to be a new form of Indian culture and voice in which idea converses regularly. Indian writers-poets, novelists, essayists, and dramatists have been making momentous and considerable contribution to world Literature since pre-Independence era, the past few years have witnessed a gigantic prospecting and thinking of Indian English writing in the global market. Sri Aurobindo stands like a huge oak spreading its branches over these two centuries. He is the first poet in Indian writing English who was given the re-interpretation of Myths. Tagore is the most eminent writer he translated many of his poems and plays into English who wrote probably the largest number of lyrics even attempted by any poet. The word “myth” is divided from the Greek word mythos, which simply means “story”. Mythology can refer either to the study of myths or to a body or a collection of myths. A myth by definition is “true” in that it. The same myth appears in various versions, varies with diverse traditions, modified by various Hindu traditions, regional beliefs and philosophical schools, over time. Devdutt Pattanaik is an Indian Mythologist who distinguishes between mythological fiction is very popular as it is fantasy rooted in familiar tradition tales. His books include Myth =Mithya: A Handbook of Hindu Mythology, Jaya: An illustrated Retelling of Mahabharata; Business Sutra: An Indian Approach to Management; Shikandi: And other Tales they Don’t Tell you; and so on.

Abstract Microliths They Are, Little Stones: Posthumous Prose (2020) represents the culmination of Pierre Joris's fifty-year effort of translating the work of Paul Celan into English. The book contains a small library: aphorisms, fiction, dialogues and notes for dramatic works, theoretical prose, interviews, as well as illustrations. This review essay primarily focuses on notes and drafts toward an unfinished essay called “On the Darkness of Poetry.” It is a major statement of Celan's poetics and still stands as an unmet challenge to poets writing today. Its unfinished state should not be considered a liability but read instead as a formal argument (albeit unintended) that “the alleged thought- or language-scheme of the poem is never ‘finished.’”

AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositions that seem to deal with aspects of fictionality we have to be careful and ask whether these propositions are actually intended to talk about phenomena that belong to the realm of fiction/ality. However, if we want to gain some knowledge about the history of fiction/ality, we have no other choice than to tackle the arduous task of trying to detect similarities (and differences) between the present-day discourse on fictionality and (allegedly) related discourses of other epochs. The goal of this paper is to make a small contribution to this task.The starting point of the paper are two observations, which also determine the approach I have chosen for my investigations. 1) In the 18th century the terms »fiction« or »fictionality« do not seem to play a significant role in the discussion of art and literature. However, some propositions of the discourse on imagination, one of the most prominent discourses of the Age of Enlightenment, seem to suggest that this discourse deals more or less explicitly with questions regarding the fictionality of literary artefacts as we conceive it today. 2) The concepts of imagination and fictionality are also closely linked in present-day theories of fiction. Naturally, the question arises how the entanglement of the concepts of fictionality and imagination can be understood in a historical perspective. Can it function as a common ground between 18th-century and present-day conceptions of fiction/ality? Is imagination still used in the same ways to explain phenomena of fictionality or have the approaches evolved over the last 250 years and if yes, then how? These kinds of questions inevitably lead to one major question: What do 18th-century and present-day conceptions of fiction/ality have in common, how much and in what ways do they differ?For heuristic reasons, the article is subdivided according to what I consider the three salient features of today’s institutional theories of fiction (i. e. theories which try to explain fictionality as an institutional practice that is determined and ruled by specific conventions): fictive utterance (aspects concerning the production of fictional texts), fictional content (aspects concerning the narrated story in fictional texts) and fictive stance (aspects concerning the reader’s response to fictional texts). The article focusses on the English, French and German-speaking debates of the long 18th century and within these discourses on the most central and, therefore, for the development of the concept of fiction/ality most influential figures. These are, most notably, Madame de Staël, Voltaire, Joseph Addison, Georg Friedrich Meier, Christian Wolff, the duo Johann Jakob Bodmer and Johann Jakob Breitinger as well as their adversary Johann Christoph Gottsched.The relevance of the article for a historical approach to the theory of fiction lies in the following aspects. By means of a tentative reconstruction of some carefully chosen propositions of 18th-century discourse on imagination I want to show that these propositions deal in some way or other with literary phenomena and theoretical concepts that in present-day theory are addressed under the label of fiction/ality. By comparing propositions stemming from 18th-century discourse on imagination with some major assertions of present-day theories of fiction I try to lay bare the similarities and the differences of the respective approaches to literary fiction and its conceptualisations. One of the major questions is to what extent these similarities and differences stem from the differing theoretical paradigms that are used to explain literary phenomena in both epochs. I venture some hypotheses about the influence of the respective theoretical backgrounds on the conceptions of fictionality then and today. An even more intriguing question seems to be whether the practice of fictional storytelling as we know and conceive it today had already been established during the 18th century or whether it was only in the process of being established.

Most of the Albanian literary creators who live and work in the United States of America have experienced their affirmation in their homeland, however, in the case of their exile in the United States of America, they have continued their passion for literary art here. creating important works for the Albanian community, but also for the American one. Adnan Mehmeti is one of those Albanian poets, who will reach his affirmation in the field of letters in the United States of America. He has published several books of poetry, but also non-fiction books. His poetry has been translated into several languages, including English, Spanish, Romanian, and Swedish, and has been featured in several poetry anthologies. He is also the winner of several prestigious literary awards. Adnan Mehmeti works and lives in the United States and is the president of the Association of Albanian-American Writers.

The statement that the poets are born after their death is universally known. There is hardly any writer who writes the criticism of his writings. They are the critics who criticize their works. It can be said that the writer himself may have only a single idea or message when he produces his piece of writings, but the critics have different views on the same work. Even one critic sometimes innovates miscellaneous ideas and messages from the same poetry, play, novel, short story, fiction, non-fiction etc. Furthermore, a post- colonial critic always tries to find the message of his area of study even in the writers of Anglo Saxon, Middle English, Romantic or Victorian era. A romanticist finds his theme in the writings of other periods. Similarly, a fan of feminism attempts to discover the messages related to females in the writings he studies. In the same way, the author of this paper, because of his being a writer for those who find themselves trapped in the social four walls, and who have no control over the situations around them, focuses on how Sunil Gangopaddhaya, in his short lyric titled ‘An Unsent Letter’, has picturesquely delineated the indescribable plight, predicament and quandary of a sub-continental girl who has been sold to a brothel for six thousand rupees. The paper also, besides showing how the women are neglected, abandoned, deserted and ignored in the male-chauvinistic society, emphasizes to show the real backdrop of the women in the society the poet lives.

The debate, whether literature (art) can represent reality and life well has not been concluded, coming to no universal validity, since the time of Plato. The critics and the connoisseurs of art vary in their arguments for and against, some argue that literature represents reality and life and others deny it. They value and judge literature according to their own taste and subjective impression, it is claimed not only to be realistic but also fantastic, the frenzy of human imagination. Despite all the assertions against it, most of the literary critics have accepted that literature is a representation of life, though Plato has expelled the poets from his well run republic. Modern criticism of English literature takes its major impetus from Henry James for he is the first critic who speaks about representation of reality and life in literature, in novel. He has given prominent status to novel with an argument that it represents life better and more faithfully than any other genre of literature. For the discussion of the representation of realty in literature, Henry James’ Art of Fiction has been taken into account and MLA VIII has been used for citing the works.

The article is devoted to the topical issue of teaching creative writing to high school students in Ukrainian schools. Based on the analysis of foreign and Ukrainian studies, the authors of the paper clarified the concept of «creative writing», outlined its fundamental difference from academic writing as a component of a foreign language curriculum and its importance in the process of teaching English. The article provides a definition of creative writing and outlines its fundamental separate status in relation to academic writing. It is emphasized that, according to many scholars, creative writing is defined as the author's self-expression. Creative writing is subjective in nature; it involves the author's non-standard thinking; encourages recourse to imagination, the possibility of realizing non-standard thinking, feelings, ideas. It is also noted that there are a lot of different types of creative writing, that can be classified as fiction or non-fiction. This work also outlines the prerequisites for teaching creative writing. These are: intensive reading of works by prominent writers, poets or screenwriters, as well as bloggers and speechwriters; the need to involve students in observation outside of school, heuristic conversations, etc. It is noted that such a process is natural for the development of a child's language, and is also a way of reflecting on the information received. The study provides examples of various techniques for teaching creative writing, which involve such aspects as: writing an individual essay after visiting emotionally stimulating locations; creating a short story with minimum of words; writing a poem based on the Japanese poetry of Haiku, writing an address to oneself in the future, continuing a story with a given beginning, etc.

The article discusses the issue of the influence of Leo Tolstoy, his fiction and non-fiction, on William Butler Yeats's drama in the broader context of Tolstoy's reception in the late 19th - early 20th century in both Russia and the United Kingdom. Tolstoy's image as a writer in the correspondence and non-fiction of the Irish playwright is analysed. The author shows that Yeats's attitude towards the Russian writer, though initially favourable, was gradually becoming more and more irreverent and complex. Similar attitudes towards Tolstoy are detected in Russian writers of the period. Yeats criticises Tolstoy for his didactic tendencies. Nevertheless, Yeats acknowledges Tolstoy's genius and puts him on a par with greatest ancient and modern authors (Shakespeare, Goethe, English romantic poets, Balzac, Flaubert, Ibsen, etc.). Yeats's absolute favourite is his idea of non-resistance and non-violence, which is interpreted in Yeats's own way in his play Where There is Nothing. Yeats's reading of this concept is set in the context of the early 20th century discussion around Tolstoyism, since at the time Tolstoy was mostly perceived as a thinker in Britain. Yeats's position in this discussion is thoroughly analysed. It is most probable that Yeats read one of very short pamphlets compiled by English editors of Tolstoy. The author argues that Tolstoy's ideas and images in Yeats's play were immediately grasped and attacked by its critics. A comparative analysis of the play and Tolstoy's manifesto “What I Believe” reveals that in the play the Russian author's teaching interacts with Nietzschean philosophy and Yeats's own symbolism, as well as various occult practices he was deeply interested in. This amalgam is concentrated in the paradoxical image of a prophet, visionary, destroyer of the old world order (in fact, any order - secular and ecclesiastical) and at the same time a preacher of non-violence, Paul Ruttledge. As it has been argued in previous studies, the episode of a mock trial echoes Tolstoy's interpretation of the Sermon on the Mount. The in-depth analysis shows that not only this episode is related to Tolstoy but the whole play is somewhat reminiscent of his vision of Christian life (rejection of people's law as opposed to God's law, and of urban living; criticism of civilization; necessity for manual labour and simple life in harmony with nature; call for unity and equality of all people). Despite these similarities, there is still a lot of disagreement with Tolstoy in the play, mainly due to the Nietzschean influence (desire to destroy the old world, Dionysian motifs), who Yeats considered to be the exact opposite of Tolstoy. A similar juxtaposition of Tolstoy and Nietzsche is found in both English and Russian literature. A parallel is revealed between Paul and Tolstoy, who, according to Yeats, were mad prophets unable to change the world. This parallel is both mocking and tragic, and Paul is in line with other Yeats's images of jesters and madmen.

Aju Mukhopadhyay is one of the brightest stars in the firmament of contemporary Indian English Literature. He is a magnificent literary artist, in fact a versatile genius. As a visionary poet he has enraptured the hearts and minds of millions of poetry lovers, both in India and abroad. He is a profound critic, and his insightful critical studies are highly valued in the literary world. His essays on various subjects have made a mark in every field. He is a great storyteller too, both in English and Bangla, and the range of his short stories has baffled the fiction lovers. Like his previous volumes of short stories, the present collection too offers a large variety of subjects and feeds the craving of every set of readers. Aju’s world is so vast that you cross the national boundaries many times to peep into a new world. You open the window to a new story and step into a different world altogether. “In the Company of William, Samuel and Dorothy”, Aju takes us to the Lake District of England to enjoy the company of the great Romantic poets, William Wordsworth, S. T. Coleridge and Dorothy Wordsworth. His description is so vivid that you really feel you are watching everything happening before your ‘fleshy eyes’. In the next story “They Came Down from the Roof of the World”, the writer takes you indeed to the roof of the world, Tibet and the Tibetan Cause. Tibet and New York come alive before you and you partake in the stormy scenes, the rebellion, the persecution, the great Dalai Lama escape and the aftermath.

<p>This article explores the pedagogical foundations of three U.S. Black women writers—Toni Cade Bambara, June Jordan, and Audre Lorde—widely recognized as among the most influential and prolific writers of 20th century cultures of emancipation. Their distinct yet entwined legacies—as socialist feminists, people’s poets and novelists, community organizers, and innovative educators—altered the landscapes of multiple liberation movements from the late 1960s to the present, and offer a striking example of the possibilities of radical women’s intellectual friendships. The internationalist reverberations of Bambara, Jordan, and Lorde are alive and ubiquitous, even if to some readers today in the Caribbean and Latin America, their names may be unfamiliar.<a title="" href="file:///C:/Users/natal/Documents/MEGA/1-REVISTAS/Anuario/Anuario%2030-2018/Dossier/02%20Articulo%20Conor.docx#_ftn1">^{^[}</a></p><p>Bambara’s fiction centered Black and Third World women and children absorbing vibrant life lessons within societies structured to harm them. Her 1980 novel, The Salt Eaters, posed the question - “are you sure, sweetheart, that you want to be well?” -to conjoin healing and resistance for a new embattled generation under President Reagan’s neoliberal shock doctrines that were felt worldwide. June Jordan’s salvos of essays, fiction, and poetry -including Things That I Do in the Dark, On Call, and Affirmative Acts - intervened in struggles around Black English, community control, police violence, sexual assault, and youth empowerment. Audre Lorde’s words are suffused across U.S. movements (and, increasingly, in the Caribbean and Latin America)- on signs, shirts, and memes, at #BlackLivesMatter and International Women’s Strike marches. Your silence will not protect you. The master’s tools will never dismantle the master’s house. Revolution is not a one-time event. However, her voluminous legacy may risk becoming a series of slogans, “the Audre Lorde that reads like a bumper sticker.”</p><div><br clear="all" /><hr align="left" size="1" width="33%" /><div><p> </p></div></div>

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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The article is dedicated to the critical reflection of the original and translated version of Alan Bennett’s “The Uncommon Reader,” whose main character is unnamed, but easily recognizable Queen Elizabeth II. Consequently, the entire different cultural context of this pseudo-biographical narrative creates certain difficulties for the translator, because she has to understand and reproduce with maximum accuracy what English speakers read without any hindrance. So, the main approach of the translation of “The Uncommon Reader” into Russian is considered to be a domesticating strategy, which means the need to adapt the story by simplifying or replacing (renaming) historical and everyday realities, when they are transplanted from one worldview to another: for example, “Alsatian — German Shepherd” or “Dame Commander — Court Lady.” It should be emphasized that the nomination problem plays an important role in Bennett’s work: while his characters dive into the depths of fiction, they seem to start to get know to themselves anew with the help of found “second names” that are foreign words of Greek (“opsimath”) and Latin (“amanuensis”) origin. The study of the author’s reading philosophy leads us to the conclusion about the uniqueness of the original title of the story, reflecting the idea of the ambivalent nature of the image of Her Royal Majesty. After a long journey from a novice reader to a writing reader, she still decided to enter the circle of the independent Republic of Letters, which blossoms with tens of names of novelists, poets, and dramatists of the present and the past on the pages of “The Uncommon Reader.” Such a literary union demanded from the translator to create a separate and well-thought commentary, which can be interpreted as a secondary attempt at “reverse translation” (A.V. Mikhailov).

This study aims to highlight the utilization of literary genre as a well-liked method for instructing both language skills (that is to say, writing, reading, speaking, and listening) and language fields (that are grammar, pronunciation, and vocabulary). Why employing literary textbooks in foreign language classrooms and the main motives for choosing appropriate fictional texts in these classrooms are emphasized to make the reader acquainted with the motivating incentives and standards for foreign language teachers’ employing and picking erudite textbooks. Additionally, the teaching of language skills and literary genre gains benefits of diverse fields of literature (like drama, poems, tragedy and tales) to language teaching and to several difficulties met by language teachers in the sphere of instructing English using fiction (i.e. shortage of training in the field of literature teaching English as a Second English and Teaching English as a Foreign Language curriculums, deficiency of precise aims describing the function of fiction in English as a Foreign Language and English as a Second Language, foreign language teachers’ not possessing the experience and preparation in literature, and lack of suitable teaching tools to be utilized by foreign language teachers in a class milieu) are taken into consideration.

abstract: It is well known that collections like Richard Tottel's Songes and Sonettes (1557) were retrospectively classified as miscellanies, as both the lexicon and the conceptual categories for multiauthor books were still being developed in sixteenth-century England. "Miscellany" and "anthology" are bibliographic back-formations, impositions of modern ideals of authorship and coherence on to collections that mix the labors of compilers and poets. This essay asks what histories of production and reception have been hidden by continuing to read Elizabethan poetry books as miscellanies. In particular, how has the mixed, disorderly book been taken as an essential origin point for English literary history? Heffernan's focus is Englands Helicon (1600), a book of 150 pastoral poems from the leading poets of the day. Because its mode was so consistent, this collection has most often been understood as an anthology compiled in response to the death of Philip Sidney. But by tracing its sources, Heffernan shows how dozens of poems in Englands Helicon were not at first pastorals and only gained a rural tone through the poem titles, speech tags, and attributions added in the process of printing the collection. The expansive fictions within the printed apparatus still contribute to how poems like Christopher Marlowe's "The Passionate Shepherd" are read and taught today. Englands Helicon holds a history of how a generically mixed body of work began to function as a cue for interpretation, covering the circumstances of its writing and circulation with a desire to read at scale.

Evert Jan van Leeuwen is a lecturer in English-language literature at Leiden University, in the Netherlands. He researches fantastic fictions and counter cultures from the eighteenth century to the present. He is also interested in the international, intertextual dimensions of genres like Gothic, Horror and Science Fiction, and explores how they manifest in the British Isles, the Low Countries, and North America. He has recently co-edited the volume Haunted Europe: Continental Connections in English Language Gothic Writing, Film and New Media (2019) with Michael Newton and has written articles and chapters about American gothic authors Nathaniel Hawthorne and Edgar Allan Poe, amongst others. In relation to this, Evert has also published House of Usher (2019) a book analyzing Poe’s famous story “The Fall of the House of Usher” (1839), Richard Matheson’s related film script and the cinematic adaptation by Roger Corman in the context of the 1960s counter-culture.

As a result of the latest findings in the archives of Russia and the United States, the correspondence between Mikhail Zenkevich and Orville Wright is published for the first time (the originals in English are supplemented with the Russian translations). This correspondence was conducted between 1932–1933, which correlates to the time period Zenkevich was working on the first biography of the pioneer aviators in Russian, Brat’ia Rait (The Wright Brothers, 1933). Also included are excerpts from the letters of foreign literati and colleagues, such as Michael Gold, Harold Heslop, Maurice Becker, Helen Black, as well as domestic correspondents, K. K. Kuraev among them. The article deliberates upon the direct influence of the materials provided by O. Wright on the book. A review of the holdings on the theme of aviation in Zenkevich’s fund (IRLI Pushkinskii Dom) is provided. The examination of the little- known biographical details, as well as the parts of the poet’s epistolary legacy and his prosaic works, adds to the analysis. Taken together, this all has allowed for substantiation of certain presumptions about other possible sources of the book. The article interprets some literary features of Brat’ia Rait by tracing the development of the theme of aviation in the earlier poems by this former Acmeist, and by drawing parallels with some of his later short and long poems, such as “Al’timetr. Tragorel’ef” (Altimeter. Tragic Relief) and “Torzhestvo aviatsii” (The Triumph of Aviation), and a short novel “Na strezhen’” (On the River Bend) and fictional memoirs Muzhitskii Sfinks (The Peasant Sphinx). Finally, some intertextual parallels between “The Triumph of Aviation” and Edgar Allan Poe’s “The Raven,” translated by Zenkevich, are revealed. The conclusion is made that the materials received from O. Wright have subsequently influenced the long poem “The Triumph of Aviation” and other works by Zenkevich. The publication is equipped with detailed notes, commentaries and illustrations.

The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.

This study highlights the history of E.A. Poe's work on the Russian literary scene, shedding light on the cultural, historical and editorial factors that determined its existence in Russia in the nineteenth century. In analysing the translations, we have resorted to the study of existing studies on the subject, archival materials of the Russian press, literary criticism etc. The aim of the study was to reconstruct the specific context and the specific conditions under which the work of Poe penetrated into Russia, which would also allow us to illustrate the key role of translators in the presentation of Poe on the Russian, French, and world literary scene. The subject of our study was the special conditions that determined the penetration of Poe's work in Russia. The object of the study was the biographies written by different people in different eras, as well as documents that influenced his image. The main method of the study was a comparative analysis of texts that tell about Poe's life and personality. The main result of the research is the reconstruction of the ‘route’, following which Poe's work came to Russia, as well as the identification of all the key persons, without whom Poe's work would have to wait for its time. The article also contributes to our understanding of the historical and cultural context that determined the appearance of Poe on the Russian literary scene, as well as names the most important writers, researchers and translators who paved the way for Poe to come to Russia. Scientific novelty is provided by creating a synthesis of existing studies on this topic in Russian, French and English, which allows to make the most complete three-dimensional picture and chronology of the existence of Poe's work which also provides theoretical significance of the study.

The Breton Lays in Middle English is an enigmatic label customarily used to designate eight or nine brief narratives: Sir Orfeo, Sir Degaré, Lay le Freine, “The Franklin's Tale,” Sir Launfal, The Earl of Toulouse, Emaré, and Sir Gowther. The label is awkward because it may seem to suggest that the poems are consistently derived from or inspired by Breton or Old French sources and thus are a sort of stepchildren, little more than translations or, worse, misunderstandings of a multi-media heritage. Most scholars have seen the grouping as traditional and artificial, passed along in uncritical reception, not resting on substantial generic similarities that distinguish the poems from other literary forms. John Finlayson, for instance, concludes, “In fact, considered coldly, shortness and adventure or ordeal would seem to be the only things that can really be isolated as universal characteristics.” Some scholars have accounted for the poems as a set. The distinctions they discuss commonly include the lays' close relation to the conventions of the folk-tale, relationship to provincial audiences, and a growing sophistication of the craft of fiction.

Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.

The scholarly reception history of the Old English riddles and adjacent “enigmatic poems” of the Exeter Book reveals a long process of creating intelligibility and order out of a complicated and obscure manuscript context. Understanding this history of reception allows us to see the influence of Old English poetry on modern creative medievalism, including the unexpected influence of medieval “enigmatic” poetry on the modern genre of supernatural fiction. Specifically, it is argued that the scholarly reception of folios 122v–123v of the Exeter Anthology was instrumental in inspiring one of the acknowledged classic ghost stories of the twentieth century, M.R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”.

Colonialism has been used as a negative term for its brutal, cruel, and merciless history of oppression. In the process of colonization, the English language has been used as a tool of subjugation. However, postcolonial writers have formed a resistance against European superpowers by writing their own stories in the colonizer’s language. Although critics like Ngũgĩ wa Thiong’o and Chinua Achebe have given contradictory views on using the English language to write African fiction, most of the postcolonial African writers have remarkably written about their own African experiences in English. By analyzing four postcolonial African poems by Leopold Sedar Senghor, David Diop, Wole Soyinka and Gabriel Okara, this paper aims to explicate how the colonizer’s weapon – the English language – actually turns into a blessing for postcolonials.

Relevance. The basis of this research is a comparative study of mystical literature written by Kazakh and English-speaking writers.Purpose. In this article, the artistic works of famous authors are considered from the point of view of analyzing the features of the image of mystical motifs in them.Methodology. In this research paper, comparative analysis of mystical motifs in Kazakh literature and artistic works published in English-speaking countries were conducted. It is obvious that a new trend that began in the second half of the XVIII century in England led to the widespread use of mystical elements by writers in literature, and it also began to spread to other states, as well.Results. The functions of mystical motifs in various fictions are revealed, and the ways of their creation are determined in this work. Currently, there is a growing demand for mystical fictions, and interest in writing fictions with mystical elements. Therefore, there are many scholars who investigated the issues related to the mysticism in English Literature. Although Kazakh writers and poets started to use mystical elements in the structure of their fictions in 20th century only, this trend could find its readers.Conclusions. In their works, almost all the authors also lead and seduce their readers to the high ideals that they strive for. At the same time, the mystical literature researchers have been trying to analyze various controversial views on this matter, arising from the ambiguous nature of mysticism.

Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.

IntroductionIndian Literature with its multiplicity of languages and the plurality of cultures dates back to 3000 years ago, comprising Vedas, Upanishads, Puranas and Epics like Ramayana and Mahabharata. India has a strong literary tradition in various Indian regional languages like Sanskrit, Prakrit, Pali, Hindi, Marathi, Bengali, Oriya, Tamil, Kannada, Telugu, Malayalam and so on. Indian writers share oral tradition, indigenous experiences and reflect on the history, culture and society in regional languages as well as in English. The first Indian novel in English is Bankim Chandra Chatterjee’s Rajmohan’s Wife (1864). Indian Writing in English can be viewed in three phases - Imitative, First and Second poets’ phases. The 20th century marks the matrix of indigenous novels. The novels such as Mulk Raj Anand’s Untouchable (1935), Anita Nair’s Ladies Coupé (2001), and Khuswant Singh’s Memories of Madness: Stories of 1947 (2002) depict social issues, vices and crises (discrimination, injustice, violence against women) in India. Indian writers, and their contribution to world literature, are popular in India and abroad.Researchers are keen on analysing the works of Indian writers from historical, cultural, social perspectives and on literary theories (Post-Colonialism, Postmodernity, Cultural Studies). The enormity of the cultural diversity in India is reflected in Indian novels, plays, dramas, short stories and poems. This collection of articles attempts to capture the diversity of the Indian land/culture/landscape. It focuses on the history of India, partition, women’s voices, culture and society, and science and technology in Indian narratives, documentaries and movies.Special Issue: An Overview“Whatever has happened, has happened for goodWhatever is happening, is also for goodWhatever will happen, shall also be good.”- The Bhagavad-Gita.In the Mahabharata’s Kurukshetra battlefield, Lord Krishna counsels Arjuna on how everything that happens, regardless of whether it is good or bad, happens for a reason.Indian Literature: Past, Present and Future portrays the glorious/not-so-glorious times in history, the ever-changing crisis/peace of contemporary and hope for an unpredictable future through India’s literary and visual narratives. It focuses on comparison across cultures, technological advancements and diverse perspectives or approaches through the work of art produced in/on India. It projects India’s flora, fauna, historical monuments and rich cultural heritage. It illustrates how certain beliefs and practices come into existence – origin, evolution and present structure from a historical perspective. Indian Literature: Past, Present and Future gives a moment to recall, rectify and raise to make a promising future. This collection attempts to interpret various literary and visual narratives which are relevant at present.The Epics Reinterpreted: Highlighting Feminist Issues While Sustaining Deep Motif, examines the Women characters in the Epics – Ramayana and Mahabharata. It links the present setting to the violence against women described in the Epics Carl Jung’s archetypes are highlighted in a few chosen characters (Sita, Amba, Draupati). On one note, it emphasises the need for women to rise and fight for their rights.Fictive Testimony and Genre Tension: A Study of ‘Functionality’ of Genre in Manto’s Toba Tek Singh, analyses the story as a testimony and Manto as a witness. It discusses the ‘Testimony and Fictive Testimony’ in Literature. It explains how the works are segregated into a particular genre. The authors conclude that the testimony is to be used to understand or identify with the terror.Tangible Heritage and Intangible Memory: (Coping) Precarity in the select Partition writings by Muslim Women, explores the predicament of women during the Partition of India through Mumtaz Shah Nawaz’s The Heart Divided (1990) and Attia Hosain’s Sunlight on a Broken Column (2009). It addresses ‘Feminist Geography’ to escape precarity. It depicts a woman who is cut off from her own ethnic or religious group and tries to conjure up her memories as a means of coping with loneliness and insecurity.Nation Building Media Narratives and its Anti-Ecological Roots: An Eco-Aesthetic Analysis of Khushwant Singh’s Train to Pakistan, analyses the post-Partition trauma in the fictional village, Mano Majra. It illustrates the cultural and spiritual bond between Mano Majrans — the inhabitants of Mano Majra — and nature (the land and river). It demonstrates how the media constructs broad myths about culture, religion, and nation. According to the authors, Mano Majrans place a high value on the environment, whilst the other boundaries are more concerned with nationalism and religion.Pain and Hopelessness among Indian Farmers: An Analysis of Deepa Bhatia’s Nero’s Guests documents the farmers’ suicides in India as a result of debt and decreased crop yield. The travels of Sainath and his encounters with the relatives of missing farmers have been chronicled in the documentary Nero’s Guests. It uses the Three Step Theory developed by David Klonsky and Alexis May and discusses suicide as a significant social issue. The authors conclude that farmers are the foundation of the Indian economy and that without them, India’s economy would collapse. It is therefore everyone’s responsibility—the people and the government—to give farmers hope so that they can overcome suicidal thoughts.The link between animals and children in various cultures is discussed in The New Sociology of Childhood: Animal Representations in Leslie Marmon Silko’s Garden in the Dunes, Amazon’s Oh My Dog, and Netflix’s Mughizh: A Cross-Cultural Analysis. It examines the chosen works from the perspectives of cross-cultural psychology and the New Sociology of Childhood. It emphasises kids as self-sufficient, engaged, and future members of society. It emphasises universal traits that apply to all people, regardless of culture. It acknowledges anthropomorphized cartoons create a bond between kids and animals.Life in Hiding: Censorship Challenges faced by Salman Rushdie and Perumal Murugan, explores the issues sparked by their writings. It draws attention to the aggression and concerns that were forced on them by the particular sect of society. It explains the writers’ experiences with the fatwa, court case, exile, and trauma.Female Body as the ‘Other’: Rituals and Biotechnical Approach using Perumal Murugan’s One Part Woman and Matrubhoomi: A Nation Without Women, questions the society that limits female bodies for procreation and objectification. It talks about how men and women are regarded differently, as well as the cultural ideals that apply to women. It explains infertility, which is attributed to women, as well as people’s ignorance and refusal to seek medical help in favour of adhering to traditional customs and engaging in numerous rituals for procreation.Life and (non) Living: Technological and Human Conglomeration in Android Kunjappan Version 5.25, explores how cyborgs and people will inevitably interact in the Malayalam film Android Kunjappan Version 5.25. It demonstrates the advantages, adaptability, and drawbacks of cyborgs in daily life. It emphasises how the cyborg absorbs cultural and religious notions. The authors argue that cyborgs are an inevitable development in the world and that until the flaws are fixed, humans must approach cyborgs with caution. The Challenges of Using Machine Translation While Translating Polysemous Words, discusses the difficulty of using machine translation to translate polysemous words from French to English (Google Translate). It serves as an example of how the machine chooses the formal or often-used meaning rather than the pragmatic meaning and applies it in every situation. It demonstrates how Machine Translation is unable to understand the pragmatic meaning of Polysemous terms because it is ignorant of the cultures of the source and target languages. It implies that Machine Translation will become extremely beneficial and user-friendly if the flaws are fixed.This collection of articles progresses through the literary and visual narratives of India that range from historical events to contemporary situations. It aims to record the stories that are silenced and untold through writing, film, and other forms of art. India’s artistic output was influenced by factors such as independence, partition, the Kashmir crisis, the Northeast Insurgency, marginalisation, religious disputes, environmental awareness, technical breakthroughs, Bollywood, and the Indian film industry. India now reflects a multitude of cultures and customs as a result of these occurrences. As we examine the Indian narratives produced to date, we can draw the conclusion that India has a vast array of tales to share with the rest of the world.Guest Editorial BoardGuest Editor-in-ChiefDr. Bhuvaneswari R, Associate Professor, School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. She has pursued her master’s at the University of Madras, Chennai and doctoral research at HNB Central University, Srinagar. Her research areas of interest are ELT, Children/Young Adult Literature, Canadian writings, Indian literature, and Contemporary Fiction. She is passionate about environmental humanities. She has authored and co-authored articles in National and International Journals.Guest EditorsCynthiya Rose J S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. Her research interests are Children’s Literature, Indian Literature and Graphic Novels.Maria Baptist S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. His research interests include Crime/Detective fiction and Indian Literature.MembersDr. Sufina K, School of Science and Humanities, Sathyabama Institute of Science and Technology, Chennai, IndiaDr. Narendiran S, Department of Science and Humanities, St. Joseph’s Institute of Technology, Chennai, India

Abstract The poet Wendy Cope gained a huge reputation in the early 1980s mainly for a series of witty and incisive parodies, often under the name of her desperate fictional poète maudit Jake Strugnell, and these poems were collected, along with others, in her hugely successful and influential debut collection, Making Cocoa for Kingsley Amis, which appeared in 1986. This book sold almost 200,000 copies, but has been the subject of a very small body of criticism. Many of her contemporary poet-critics were dismissive: in one contemporary review, Peter Riley epitomized a not uncommon reaction when he claimed that no ‘poetic import can be claimed for the book’, and railed against ‘a new audience for poetry, one which must be presumed to have previously fought shy of it as too difficult or too deep’. Certainly, Making Cocoa for Kingsley Amis is not a work of avant garde complexity, but Cope’s debut is not as cosily complacent as such critics indicate. It is in fact highly allusive and resistant to orthodoxies – and was a thorn in the side of the literary and cultural establishment into which she was instantly propelled. This essay assesses the ways in which Cope’s debut collection takes an ambivalent, nuanced, and parodic response to British institutions, and to the orthodoxies of the male-dominated literary world she was entering.

By and large, the western world received the news of the Nazi-Soviet Pact (23 August 1939) with horror and a sick apprehension of what would come next. Quite different was the response of Guy Crouchback, the fictional hero of Evelyn Waugh's Sword of honour trilogy on the Second World War:News that shook the politicians and young poets of a dozen capitals brought deep peace to one English heart [He had] expected his country to go to war in a panic, for the wrong reasons or for no reason at all, with the wrong allies, in pitiful weakness. But now, splendidly, everything had become clear. The enemy at last was plain in view, huge and hateful, all disguise cast off. It was the Modern Age in arms. Whatever the outcome there was a place for him in that battle.

The concerned paper tries as much as it can to sketch a feministic preview of “Shakespeare’s sister”, included in the famous essay “A Room of Ones Own” by Virginia Woolf, one of the most dominant female writers of English literature by virtue of exploring the fundamental problems of women, familial as well as social, regarding the various means whereby they can thrive like greatest male poets, dramatists as well as novelists of the era. Throughout the essay, Wolf endeavours to singe root and branch the man-made form of the patriarchal society, which hinders the women to have a specific space for only themselves, just like the men, even to come out of the apparently predestined social barriers and to know their inner self in order to flourish their inner capabilities, by dint of the man-made social weapons like gender discrimination, disparity as well as discrepancy. That is why, Woolf suggests, we all know great writers, particularly male writers like Shakespeare, But we know nothing about any female writer, maybe as great as Shakespeare in English literature, particularly before the 18th century.

A 9th grade Honors English class creates and publishes original poems, art, fiction, and nonfiction products through an activity called “Type Three – Twenty Time = T4.” The instructional method merges elements from Renzulli’s Type III process with elements from Brookhouser’s 20Time Project-based learning model. Each student researches an interest passion topic and creates a related original product or service for a real audience. Upon reflection on the experience, the author identifies evidence-based practices including compacting ELA course content to create time for the T4 process; enhanced student engagement; active learning versus passive learning; improved writing skills; quality presentation skills; higher level creative and critical thinking; and upgraded 21st Century skills.

Ines Zhelezovski is a Ukrainian writer whose hometown boasts a rich lit[1]erary tradition. Born on April 2, 1990, in Myrhorod, she shares her birthplace with the outstanding writer Mykola Hohol, who was one of the first in world literature to use the principles of magical realism in his works as early as the 19th century. The author began writing poems during her school years and lat[1]er, at the university, delved into prose. Ines is a philologist by profession. She graduated from the Faculty Foreign Languages at Karazin Kharkiv University, where she studied English, French and foreign literature. Literature was her favorite subject. Interest in literature can be explained by the feeling of “affinity”, according to the concept of Hryhoriy Skovoroda. Her real name is Inna Zhelezovska. In addition to fiction, the author has experience in writing various texts, from game scripts to blog articles. Writing fiction is her long[1]standing dream, which is now coming to fruition. In her spare time, she goes to the gym or plays badminton.

Mongols have a long and rich tradition of translating literary works from many different countries into Mongolian. Specifically, thousands of literary works from over 100 different countries written in dozens of different languages have been translated into Mongolian. Among these, a large number of Italian literary works have been translated into Mongolian from Russian, English, and Romanian. As for the literary genres of these works, they primarily consist of poetry, prose, and plays (including screenplays). Specifically: 1) Poetry: poems (58 works), songs (1), long poems (3); 2) Prose: folktales (33), authored tales (36), short stories (40), traditional jokes (3), novellas (5), framed stories (1), novels (5); 3) Plays (2), and screenplays (1). In addition, works of non-fiction, including stylized biographical sketches, reminiscences, as well as a political philosophical treatise, have been published. Literary works are generally divided into one of the following two different categories depending on whether they have a specific author or not: a) oral folklore; and b) written literature. The following tasks need to be undertaken to properly study Italian literary works which have been translated into Mongolian and published in Mongolia: A complete bibliography of Italian literary works translated into Mongolian must be compiled, All of the Italian originals must be located and correctly identified, The Russian, English, and Romanian intermediate translations must also be found and carefully consulted, If a work has been translated multiple times by a single translator, the multiple translations must be compared with each other and studied, If a work has been translated multiple times by different translators, the multiple translations must likewise be compared with each other and studied, The Italian originals of poems, songs, tales, and short stories which have been translated into Mongolian should be located and juxtaposed with their translations and published in book format for teaching and research purposes.

Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.

The paper focuses on linguistic manifestation of emotion of surprise in modern English poetic texts. The study is guided by the statement that emotions – psychosomatic processes – can be fixed in fictional texts (including the poetic ones) in the form of emotives – the linguistic units that manifest emotions and/or feelings of the addresser. The emotion of surprise differs from other basic emotions of a person due to its ambivalence and specific prerequisites to emergence. As surprise comes forth unexpectedly, the study looks for basic situations in the context of poetic texts when emotives of surprise appear. To study the phenomenon, the concept of emotional situation is employed. It marks the circumstances under which the persona experiences the emotion of surprise. The results obtained from the analysis of modern English poems distinguish several emotional situations in which emotives of surprise appear. They occur at the junction of image-bearing spaces of 1) dream and reality; 2) reality and fantasy; 3) expectations and their fulfilment; 4) two contrasting situations in reality. These image-bearing spaces may have either contrasting or complementing features. The defeated expectancy effect that occurs due their interaction manifests itself verbally via the emotives of surprise.

More and more combined studies of translation and linguistics have been conducted. Many papers analyzed Chinese to English translation based on Systematic functional theory (SFL), targeting ancient poems and fiction and a few types of research aimed at poses. Inspired by Halliday’s SFL theory, Hu and Zhu in 2008 further developed the metafunctions in SFL into ideational metafunctional explication, interpersonal metafunctional explication, and textual metafunctional explication. To enrich research into the Chinese prose, this paper explores the explicit translation phenomena in the true story of Ah Q, written by the best-known writer Lu Xun, in English versions, translated by Yang Xianyi and Dai Naidie (Yang and his wife) based on the explication concept proposed by Hu and Zhu. Through analysis, first, ideational metafunctional explication phenomena were reflected in cultural information explication, conceptual explication, and discourse explication; interpersonal metafunctional explication was reflected in character relationship and modal explication; textual metafunction explication was reflected in logical conjunction explication. Second, the manifestation process was attributed to translation purpose, linguistic differences, and translators. At last, this paper proposes suggestions for future translation strategies based on SFL theory.

Background and objective: Presentations of MS in fictional literature have not been previously researched. This paper surveys and analyses these portrayals of the disease for the first time. Material and methods: Relevant works in English and German were identified by means of keyword searches in online public access catalogues and search engines as well as old-fashioned research. The neurological and literary evaluation of these 7000 pages of text combines qualitative and quantitative methods. Results: Between 1954 and 2012 at least 55 literary works appeared with an MS motif (35 novels, 18 poems, one novella and one drama). The authors were predominantly female and a third of them suffered from the disease. Patients in the novels largely reflect real epidemiology as regards symptoms and disease progression, while diagnostic and therapeutic options play a secondary role. From a literary point of view, ‘entwicklungsromane’, ‘relationship novels’ and ‘young adult books’ can be discerned. MS is often portrayed in metaphoric language as the enemy: a demon, an animalistic being, prison or an abyss. Conclusion: The MS motif evidences a medicalization of the literature as well as a literary portrayal of anthropological experiences. Well-written novels can contribute to the de-stigmatization of MS and impart basic medical knowledge.

Among the writers of his generation, Alecsandri is the most comprehensive one, expressing not only the patriotic aspirations and desires, but also the discoveries from the universe of the private life and trying to make himself noticed in almost all the main literary genres and species. By different circumstances, Alecsandri gets to travel through Moldavia, Wallachia, Bucovina and Transylvania, to the European part of Turkey, to Italy, Austria, Germany, France, Spain, Great Britain, North of Africa, either for personal pleasure, to accompany Elena Negri, who was trying to find a more favourable climate for her fragile health, or for official business. All these travels and each of them separately are part of the development of his creation, leaving marks in his fiction and poetry and “it is printed on the screen of the human experience which defines his public and private personality”. In one of these travels, Alecsandri will discover the folk poetry, discovery which will profoundly mark his destiny as a writer and it will also have immeasurable consequences on the entire development of the Romanian literature from the last century, but also from the years to follow. As a result of the translations into French, German and English of the folk poems or of some of his original poems, Alecsandri becomes one of our first modern writers who became famous also abroad, being accessible to the foreign world.

From ancient times, war has played a main role in the lives of people and has been a major theme for literature, history, and as well as for political discourses. The period between 1983-2009 marks the war that took place in Sri Lankan history, which impacted the country politically, culturally, and economically. The realms of Sri Lankan English, Sinhala, and Tamil literature also went through change during this period, and many fiction, poems, dramas, and films were composed in response to the war both during and in its aftermath. The Sri Lankan Anglophone writers: residential authors as well as authors of the diaspora portray the war through their literary compositions. This critical literature review examines the role Anglophone literature plays as a mode for dialogue and reconciliation in the portrayal of war. Above ten studies conducted on Sri Lankan Anglophone literature and its role in portraying war published between 1992 and 2020 were reviewed. The findings of the review indicate that many scholars consider Sri Lankan Anglophone literature as a platform that plays a significant role as a mode for dialogue and reconciliation while some consider it as literature composed by the English-speaking class for its own class. This review concludes that the Sri Lankan Anglophone literature plays a substantial role as a medium for dialogue and reconciliation in the portrayal of war in Sri Lanka (1989-2003).

This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.

Among the numerous accolades and awards garnered by viet thanh nguyen's debut novel, the sympathizer (2015), the one receiving the least attention from academic critics will probably be the Edgar Award, bestowed by the Mystery Writers of America. After all, The Sympathizer boasts aesthetic achievements that far exceed the generic confines of a conventional mystery novel. Also, even in the age of cultural studies, when the divide between the popular and the elite is supposed to have all but disappeared, literary scholars, if they are honest with themselves, still hang on to the notion that there is a qualitative difference, or a hierarchy, separating literary fiction from crime fiction, the highbrow from the lowbrow. It may be true that we no longer live at a time when an eminent critic like Edmund Wilson would attack mystery novels by asserting, as he did in 1945, partly in response to Agatha Christie's popular mystery novel The Murder of Roger Ackroyd, that “with so many fine books to read …; there is no need to bore ourselves with this rubbish” (qtd. in Bradford 117). And there is more than half a century separating us from the era when Ross Macdonald, one of the most accomplished practitioners of the mystery genre as well as a trained literary scholar, lamented in his 1954 lecture at the University of Michigan, Ann Arbor, where he had received a doctoral degree in English, that “[t]hough it is one of the dominant literary forms of our age, the mystery has received very little study” (11). Even after Jacques Lacan and Jacques Derrida enshrined Edgar Allan Poe's detective short story “The Purloined Letter” as a darling of poststructuralist analysis, most literary scholars worth their salt would continue to regard crime fiction as a subpar genre, something that, as Macdonald said, is reserved for their leisure hours, akin to crossword puzzles in a newspaper (11). Or, as Wilson put it, “Who cares who killed Roger Ackroyd?” (qtd. in Bradford 117).

The purpose of this paper is to explore the way English Renaissance criticisin explained poesy, a term designating both poetry and fictional prose. Reevaluating Sidney's Apology for Poetry in relation to the Aristotelian doctrine of verbal art, my first part insists on the pragmatic aspect of the criticism of the time which sought not only to describe its object but also to justify its very existence according to its effects on the reading public (docere and delectare). Now this pragmatic quality leads to both subjectivity and empiricism in the critical art, which is what my second part deals with. Literature and its explanation were in fact the two poles of the same activity, most critics being also, poets. The latter would prescribe rules enabling them to both write and judge literature : my third part focuses on the most important of these rules and mentions the hesitation of the critical explanation of the Renaissance, oscillating between tradition and innovation despite its luminous contributions and its ability to transcend classical norins.

The integration of the author into the cultural context is a two-faceted problem. In the post-information age, literary parody is regarded as a way of socio-cultural communication. The article features the congeniality of two chronologically distant works of science fiction against their contemporary context, namely Edgar Allan Poe’s Ligeia and Loss of Breath vs. Ray Bradbury’s Emissary and There Was an Old Woman. This pioneering research is an attempt to trace how the genre of science-fiction short story changed from the age of European Gothic to the era of mass literature, as well as to define the role of the cultural and social context of the New World in this process. The author reduced the short stories into two conditional pairs to demonstrate the hidden connections between the two sets. The methods of narrative analysis, literary comparison, and the theory of intertextuality revealed a multiple latent presence of other texts. In his Ligeia, E. A. Poe borrowed the genre conventions of the English Gothic novel while parodying the grandiloquent style of the French Romantic literature and the rhetoric of fear typical of the German Gothic style. R. Bradbury, in his turn, imitated the style and subject matter of Poe-esque extravaganzas while parodying the plot composition and artistic language employed by his older contemporary H. P. Lovecraft. Ultimately, the study revealed the evolutionary similarity of the two poetics of parody. In their early career, both Poe and Bradbury mocked the style of popular magazines. Later, both writers came to the parody of the literary classic and focused on high examples of parody art. Poe and Bradbury contributed to the development of the genre of parody in the XIX and XX centuries, respectively. The article marks the ten-year anniversary of Ray Bradbury's death.