Artículos de revistas sobre el tema "Group sex – Fiction"

In order for true beliefs acquired from reading fiction to count as knowledge proper, they must survive ‘the challenge from luck’. That is, it must be established that such beliefs are neither luckily true, nor luckily believed by readers. The author considers three kinds of true belief a reader may, she assumes, get from reading fiction: a) those based on testimony about empirical facts; b) those based on ‘true in passing’ sentences; and c) those beliefs about counterfactuals one may get from reading a ‘didactic’ fiction. The first group escape the challenge from luck relatively easily, she argues. However, things turn out to be more complicated with the second group. The author examines Mitchell Green’s suggestion, effectively, that knowledge of fictional genre may see off the challenge from luck here, but rejects this in the form presented by Green, adapting it substantially to offer beliefs of this kind a more promising escape route. The author finishes by following Green’s lead once again, and discussing the category of ‘didactic’ fiction, as he calls it. She argues that any true beliefs about counterfactuals gained from such fictions are likely to be lucky. The author concludes however that things are much more promising for any true beliefs gained about oneself as a result of engaging with what Green calls an ‘interrogative’ fiction.

Would you kill your best friend if you found out he raped someone? In this work of philosophical short story fiction, the narrator is a sophomore in college who spends time with her friend, a drug dealing college student named Nate, and his law school friend Jack. They all get together to drink, smoke pot, and have long philosophical debates. One night at a party the narrator wakes up to find Jack having sex with her. She waits until the party is over and tells Nate that Jack raped her. Nate comforts her, and supporters her, although she opts not to press charges, she tells Nate she wants Jack dead When Jack calls her to say he had a good time, and ask her out on a date, she refuses. The group grows apart until a year later, word gets back that Jack was at a party at Nate’s house when he drank to much and died of alcohol poisoning. Oddly, the police find nothing when questioning Nate because this is the one party where Nate, a drug dealer, doesn’t have drugs in the house. They never talk again, but the narrator wonders if Nate followed through and killed Jack. She hopes he did.

IN1895,GRANT ALLEN PUBLISHED A NEW WOMAN NOVELentitledThe Woman Who Did. This treatise-like novel appeared as part of the Keynotes Series, a group of ideologically progressive texts published by John Lane for Bodley Head in the 1890s. As Margaret Diane Stetz writes, Lane made this series “a haven for ‘New Woman’ fiction, naturalistic short stories, and ‘decadent’ poetry and art” (72). Marketed as status and sex objects (81), many of the thirty-three novels and short-story collections that make up the series concern themselves with New Woman issues such as marriage and female sexuality. Lane had taken the name for this series from George Egerton'sKeynotes(1893), a collection of short stories told from the perspective of an emancipated woman.The Woman Who Did, published two years later, also featured a New Woman and became the most notorious book of the series. Combining a free-love, anti-marriage message with a tragic plot, Allen's novel focuses on a clergyman's daughter, Herminia Barton, who refuses to marry the father of her child, Alan Merrick, on feminist principles. Unwilling to enter an institution that she compares to “vile slavery” (43), she chooses to live unmarried with her lover and daughter until his death. She withstands the calumny of family and friends and years of grieving and penury only to discover in the end that her daughter rejects her feminism and views her illegitimacy not as the “supreme privilege” her mother believed it to be, but rather as a “curse” (132). In a way typical of New Woman novels, the story ends with the heroine's suicide.

In the late Joseon Dynasty, a group of novels called ‘Hwejeol Fiction(Stories about Men Breaking His Faith)’ appeared. They shared the narrative that the heterosexual sexuality of the male character is confirmed through tests. This narrative means the process of confirming the heterosexual sexuality of individual men and granting them membership in the homosocial communities. This work was examined the homosocial between mens through three works of Hwejeol Fiction: ‘Jibong-jeon’, ‘Oyuran-jeon’, and ‘Samseon-gi’. First, in ‘Jibong-jeon’, a dominant man who rejects heterosexual sexuality and has the potential to discord with homosocial standards appears as the main character. In this text, as the relationship between the dominant men is focused, the virtue of the public relationship between them is particularly emphasized to sustain the male bond. The dominant male protagonist never becomes profanity in the process, and is embraced into the community after the interruption. Next, in ‘Oyuran-jeon’, an immature man who pursues hegemonic masculinity appears. The narrative deals with the process of growing these immature men into true dominant men. He grows up with the help of men in private relationships such as family and friends, and in the process, a humorous episode in which they are shown there naked bodies. At the end of the narrative, they transforms into a being who embodies full hegemonic masculinity and lives happily as a member of the homosocial community. Lastly, ‘Samseon-gi’ is distinguished from the previous two types in that it shows the practice of a newly adjusted ‘alternative masculinity’ rather than actively incorporating into the homosociality by breaking personal beliefs. Here, women have much more active voices and self-awareness than in the previous two types. Since the gender practice of the male protagonist poses the greatest threat to the maintenance of male same-sex society, unlike other narratives, hostile forces that block him appear, showing explicit hostility toward the protagonist. In the end, the protagonist is not fully incorporated into the existing homosocial society but is incorporated into a different world. The fact that most of these narratives written in Chinese characters, have been mainly enjoyed between male readers. It suggests that the enjoyment of narratives itself can be an practice for male readers’ homosocial solidarity. The existence of a long-running these narratives clearly reveals that the concept of masculinity, which on the other hand seems to be a firm power, is only a fragile component that is constantly challenged, but it also has great implications today in that it also tells us how difficult and can have a great influence on the existing male model holding hegemony.

In the vein of Daniel Defoe’s Robinson Crusoe (1719), the German writer Johann Gottfried Schnabel (1692–1748) wrote a four-volume Robinsonade novel, Die Insel Felsenburg [The Island Felsenburg], which was published between 1731 and 1743. Schnabel’s novel became extremely popular in Germany, as it tells the story of a group of shipwrecked settlers who, in the spirit of protestant piety, establish an ideal state on the beautiful island on which they are stranded. One day, they discover a hidden cave, where they find a well-preserved mummified man, sitting in a stone chair at a table. On a tin board, this man, Don Cyrillo de Valaro, had engraved important information for posterity: namely that he was born on 9 August 1475, came to the island on 14 November 1514, and recorded his recollection on 27 June 1606. His writing ends as follows: ‘I am still alive, however close to death, June 28. 29. and 30. and still July 1., 2. 3., 4. By recording every day that he was still alive, Don Cyrillo, the only inhabitant on the island at the time, managed to do what no autobiographer could ever complete: record his death. One could even go so far as to say that his method typifies a life-writing model – documenting the days of one’s life in the face of inevitable death. In the context of Schnabel’s novel, this episode is remarkable in so far as the most prominent entertainment of the island’s inhabitants is to tell one another about their lives. In the evening, when their work is done, they come together – and there is no TV or internet – and tell their stories. Remarkably enough, their stories are full of sex and crime – aspects of life that are banned from the virtuous island. The story of Don Cyrillo de Valaro and the settlers is fiction, of course. However, it triggers the question as to how ‘real’ autobiographers deal with or even describe their own deaths.

Denna studie presenterar och analyserar ett läsprojekt i F–3-klasser vid två skolor i en mindre kommun. Litteraturläsning i skolan kombinerades med lässtrategiundervisning och boksamtal som övades i hemmen. Bokurvalet omfattade en bilderboksserie i pixiboksformat för förskoleklassens elever och mer omfattande böcker i skolår 1–3. Eleverna förväntades läsa med eller för vårdnadshavare eller annan närstående, samtala om det lästa och träna de båda läsförståelsestrategierna förutspå respektive sammanfatta. Läsprojektet pågick under sex veckor, och data samlades in genom veckovisa enkäter till vårdnadshavare och, efter avslutat projekt, fokusgruppsintervjuer med elever. Såväl elever som vårdnadshavare upplevde att mängden av textläsning bidrog till att utveckla elevernas läsfärdighet, och bokurvalets och boksamtalets betydelse kommenterades överlag positivt av deltagarna. Läsprojektet belyste och problematiserade skolans kompensatoriska uppdrag för elever som inte har ett väl utvecklat lässtöd hemifrån. ENGLISH: This study presents and analyses a reading project in K–3 classes (6–9-year-olds) at two schools. The project combined the teaching of reading strategies with reading fiction and book talks prepared at the schools and then practiced at home. The book selection included easy-to-read books for children, 6-year-olds, and books for the intermediate readers. The pupils were to read at home, with or for family members, talk about the books and practice the reading comprehension strategies making predictions and summarising. Data from the six-week project were collected through weekly surveys submitted by the families, and, after the completion of the project, by focus group interviews with the pupils. According to the participants, the focus on reading contributed to the development of the pupils’ reading skills and selecting suitable books and having book talks were key factors to engage the pupils. The project highlighted the awareness of the school’s compensatory duties towards pupils needing support. Keywords: Teaching literature, Reading literacy, Reading for pleasure, Collaborative project, Action research, School years K–3, Home reading

Making New Land is an essay in theory-fiction set in a near future, where the oceans have disappeared. In these devastated landscapes, a first person narrator investigates unsolved biological enigmas on Earth and on Mars. In the footsteps of a fictional group of Anarcho-botanists called Sea for Space, the story alternates a melancholic longing for the beauty of intertidal and coastal lifeforms with futuristic visions of new species engineered by humans as new companions. The scenario explores archetypal figures of plant-human coexistence: from the botanical gaze to a nostalgic longing for connection, and from the hubris of genetical engineering to the dream of a post-humanism communion with the vegetal. The fictional story is interwoven with scholarly references and a critical discussions of artistic and literary works dealing with the fauna, flora and mythologies of the seaside, which form the outlines of an 'Intertidal Aesthetics'.

This article proposes a form of research that integrates reader study with textual analysis. Its purpose is to investigate the social production of literary value, potentially providing cultural sociology with a systematic means by which to study the formal features of texts in relation to their social significance: a means arguably required by (but not necessarily supplied in) the work of Pierre Bourdieu. Quantitative and qualitative analysis of reading group (or ‘book club’) discussions reveals an association between descriptive writing, cultural legitimacy, and a focus on the form, rather than the content, of fictional texts. In order to understand this association, the analysis then turns to two paragraphs from John Steinbeck’s The Pearl (2000 [1946]), which had been read by most of the groups involved and which many group members had referred to as involving ‘description’. It is argued that a long-standing tradition of association between descriptive writing and visual art has served as a resource both for consumers and for producers in distinguishing literature from popular fiction.

Abstract While there are interesting connections between literature and evil, there is as of yet no systematic collection of models of evil to study literature. This is problematic, since literature is among other things an evaluative discourse and the most basic evaluative category is the polarity of good versus evil. In addition, evil shows important affinities with basic narratological principles. To initiate a discussion of models of evil for the analysis of literature, this article organizes a dozen models of evil into four groups. The first consists of a core model which coincides with basic narratological elements in character analysis and narrative tension. The second group contains two pre-modern models of evil, defilement and moral-natural evil. The third group takes its cue from personality theory and proposes the five-factor model of personality and an enriched “dark triad,” and, to balance description against narration, a model which categorizes kinds of murder. The last group organizes six models around the thematic opposition between nature and society, an opposition which forms the backbone of Western philosophy and narrative. To test their validity, the models are applied to a series of literary examples/characters, above all Grendel (Beowulf), Browning’s “My Last Duchess,” and Carol Oates’ short story “Heat.”

The following fictional case is intended as a learning tool within the Pathology Competencies for Medical Education (PCME), a set of national standards for teaching pathology. These are divided into three basic competencies: Disease Mechanisms and Processes, Organ System Pathology, and Diagnostic Medicine and Therapeutic Pathology. For additional information, and a full list of learning objectives for all three competencies, see http://journals.sagepub.com/doi/10.1177/2374289517715040 .1

In this article, I examine how 24 City (2008) commemorates the factory and its workers through combining memory, the act of remembering, and its recitation, thus creating ‘memories in performance’ that construct an emotional history of this group. I use a Chinese word for commemoration, jinian ([Formula: see text]) to structure this paper into the three components of memory ([Formula: see text]), the act of remembering ([Formula: see text]), and mindful thought and recitation ([Formula: see text]), all of which combine to commemorate the factory and the sacrifice of the worker class. I examine how both the real and fictional interviews in the film create the same emotional meaning through producing emotions that are ‘real’ regardless whether their source is real or fake, thus emphasizing that memory is not only about history and ‘fact,’ but also, more importantly, about the emotion it conveys. I consider how the memories are affective in that they present a past that is being remembered, performed and retold in the present, thus enabling both the real and fictional memories to become ‘real’ in their narration. I analyze how the lived and fictive memories and their remembrance produces a filmic space to commemorate the factory and the workers' sacrifices, and argue that this produces an intimacy with the viewer, in that it presents the workers' history as personal stories being remembered, recalled, and felt again, not sterile facts being repeated. I conclude by considering how this film is indicative of a larger commemorative turn, and how it offers not only a ‘sight’ of commemoration (as an example of Chinese visual culture), but also a site of commemoration – a commemorative object as well as a commemorative experience.

This article surveys the relationship of the Heaven's Gate movement to the cultural context of science fiction while also engaging broader issues in the retrospective account of violence in new religious movements. Against theories that see violence as the consequence of social isolation and the escalating confusion of representation and reality, I argue that members of Heaven's Gate were not only “tapped in” to the reality outside the group but were markedly self-conscious about their engagement with that reality through the medium of science fiction. Using Heaven's Gate as an example, I propose that we read the concepts espoused by new religious movements in the past not in light of their fate but rather as imbedded in the historical realities in which they originally functioned in a meaningful and deliberate fashion.

The purpose of this study was to describe the effect of using animated video media on the retelling skills of fourth grade students in SDN 153 Pinrang. This research method uses a quantitative approach because researchers want to see the effect of the animated video media used. The experimental research design used was a non-equivalent control group design, or pseudo-experiment. The population in this study consisted of all fourth grade students at SDN 153 Pinrang, totaling 30 people. Data analysis techniques used in this study are descriptive statistical analysis and t-tests. The results showed that the use of animated video media had an effect on the skills of retelling fiction stories of fourth grade students in SDN 153 Pinrang. This is because there is a significant difference before and after using animated video media in learning to retell fiction stories.

The essay deals with selected examples of deconstructions of the opposition between representation and presentation, characteristic of the post-mimetic, from the neo-avant-garde to the post millennium. It traces authors who, from the 1960s to the present day, have deconstructed the drama and stage and invented new forms of re-dramatization and postdramatic intermedia interplay. We will see to what extent authors such as Peter Handke in Offending the Audience, the Pupilia Ferkleverk group in Pupilia Papa and Pupilčki, Dušan Jovanović in Monument G and Play the Tumour in the Head, Milan Jesih in Limits and Bitter Fruits of Justice, Matjaž Zupančič in The Corridor, Dragan Živadinov in The Rites of Farewell, Oliver Frljić in Damned Be the Traitor of His Country, Simona Semenić in 1981, and Žiga Divjak and Katarina Morano in various projects, persistently create disturbances in the fictional textual cosmos. However, at the same time they establish a powerful process of re-dramatisation, intense plots and denouements in theatrical texts and play-performances. It is as if, at the same time as deconstructing the dramatic, they inject the dramatic and the dramatic into the post-dramatic process of performance and writing. The post-mimetic thus coexists with the pre-mimetic, the »stripping down« of the representation of drama leads to the establishment of fiction.

The aim of the study is to analyze some of K. G. Paustovsky’s documentary fiction works to identify the specifics of the writer’s individual style in the process of recreating socio-psychological portraits of a special group of his contemporaries, i.e., sailors of the Black Sea Fleet of the USSR in Sevastopol in the pre-war period (1930s-1940s). The study is original in that it is the first to reconstruct the portrait of a social group of Soviet military sailors as eclectic documentary and literary images in the navy during a specific historical period based on K. G. Paustovsky’s stories in the collections “The Black Sea”, “The Story of a Life”, and “Tales. Essays. Literary Portraits”. A philological analysis of various linguistic markers, psychological techniques used by the writer to understand the consciousness of military sailors, a complex set of emotions and feelings generated by the water element is given. As a result, it was found that in the process of reconstructing the socio-psychological portrait of a group of Soviet military sailors of the Black Sea Fleet of the USSR, K. G. Paustovsky uses various expressive means: synecdoche, the technique of combining the living and the non-living, zeugma, comparison, epithet, oxymoron. The writer assigns a special role to the symbolism of color, with the help of which he reveals the power of the heroes’ feelings and experiences, allowing for a deeper understanding of the psychology of military sailors.

The purpose of this study is to examine the effect on preschool aged children of an intervention reinforcing comprehension of the structural framework of stories, so that they can produce their own stories. The sample consisted of 78 children, ages 4-6. The sample was separated into two groups, one experimental and one control group. The children in the experimental group were taught how to create original fictional stories through a multilevel intervention programme. During sessions, well-structured books were used that had very well-structured contents and an instructional strategy was implemented on five levels (creating prior knowledge, discussion, modelling, monitoring the process and producing stories). The children in the control group were read the same books and a discussion followed on the interesting parts of the stories. The results showed that the intervention programme significantly improved the children’s ability to understand the structural elements of a story and to generate comprehensible and organised fictional stories.

What do we lose when we leave childhood and become adults? Is this a good thing? Can we, at least for a moment, turn back time and see the world again as a child? In this work of philosophical short story fiction, Becca and Adam are members of the Fairytale Fellowship, a group of children who can still see the magic in the world and protect the world from wrong-doing magical creatures. Becca and Adam find special glasses that allow anyone, even adults, to see the invisible magical creatures around them. They rush to get the glasses to the Fellowship, but are stopped by a Faun who steals the glasses and forces them to play a game to win the glasses back. They win the game, but valuable time has passed. Becca and Adam have aged out and experienced "The Shift" all children experience into adulthood that makes them unable to see magical things. Their worst fear has happened, they have grown up.

Is it important to see and understand the perspectives of everyone in society, or is it better to live a life with less strife by spending your time with a select group of people? In this work of philosophical short story fiction, the narrator wakes up one day to find his vision has started to blur. He tries to see an eye doctor, but appointments are backed up for months. It seems every human in the world is suffering from the same, new, affliction. Under this new disease, at certain distances, half of the population. The pattern isn’t related to race or gender, and seems entirely random, but does not change over time. But the problem is serious. Some husbands can’t see their wives. Some servers at restaurants can’t see their patrons. To solve the problem, and for safety, people start to group together that can see each other. This splits neighborhoods and restaurants as they focus on serving only people capable of seeing everyone in the community. The transition period is awkward, but in the end, everything gets worked out. Finally, scientists invent glasses to allow everyone to see each other, but it seems a waste at this point. Everything has been sorted out already; no need to see everyone as things are generally fine the way they are.

The present study assessed whether or not there is a relation between fire-setting and boredom. 56 Swedish secondary-school students, 28 adolescent boys and 28 adolescent girls, were randomly assigned to a Control group and an Experimental [Boredom] group divided equally by sex. Participants were required to complete a projective test, a short story the content of which depicted a bored individual fingering a box of matches or lighter and with a bus ticket in his pocket. The Experimental [Boredom] group completed a 15-min. “boredom” test before anticipating the fictional narrative, while the Control group participated in relaxing activities. Two mutually independent judges evaluated the written stories from three standpoints: the number of fictitious fires, the relation to fire, and the boredom in the written stories. The results indicated a significant difference between the Experimental [Boredom] group and the Control group concerning relation to fire.

In recent discussions as part of the Base Erosion and Profit Shifting (BEPS) initiative, the OECD has raised a number of questions regarding financial transactions relied upon in an intragroup context. These include questions on determining the shadow credit rating, implicit support, and data to be relied upon when evaluating the arm’s length nature of financial transactions. (OECD, Public Discussion Draft Financial Transactions, BEPS Actions 8–10, (3 July – 7 Sept. 2018), https://www.oecd.org/tax/transfer-pricing/BEPS-actions-8-10-transfer-pricingfinancial- transactions-discussion-draft-2018.pdf (accessed 29 July 2019).) More recently, comments by an OECD representative have asserted that a compromise between OECD members on the issue had been reached. (See comments made on 4 June 2019 by Tomas Balco (Head of the Transfer Pricing Unit, OECD Centre for Tax Policy and Administration) during the OECD International Tax Conference in Washington DC. See J. Martin, Agreement reached on OECD transfer pricing guidelines for financial transactions, official says, MNE Tax (8 June 2019), available at (accessed on 29 July 2019).) In this respect, the OECD acknowledges that Article 9 is relevant, but confirms that domestic law has priority, except to the extent that domestic provisions discriminate. This ongoing discussion demonstrates the complexity that tax payers and tax administrators face when considering financing arrangements. Although the focus of this article is on intra-group financial guarantees in a broad sense, it focuses attention on of implicit support, a concept potentially relevant to all intra-group financial transactions. This article will also consider some of the issues currently discussed in the context of intra-group financing, including the importance and impact of implicit support on financing arrangements, from the viewpoint of tax courts, the OECD, and financial market participants. It then considers approaches used to determine the extent, if any, of implicit support by the main credit rating agencies as well as other financial market participants, and it goes on to consider the pros and cons associated with different pricing methods to assess the arm’s length level of guarantees, once credit ratings adjusted for implicit support have been derived.

‘My life is like a movie’ is a sentence that often surfaced during my fieldwork on gangs engaged in everyday policing in the city of Goma (Democratic Republic of Congo); referring to the martial arts and action movies they like to watch. For this article, I will reflect on how during my ethnographic research I ended up making the fiction film Street Life together with the Congolese filmmaker TD Jack, the gang leader Alino and his group Rich Gang. The paper explores the making of Street Life as a route to knowledge production on the political performances of gangs seeking to carve out a space for themselves in Goma’s urban policing environment. Broadly, two issues are dealt with. Firstly, I analyze how gangs’ everyday political performances are re-enacted and actively mirrored in the film. Secondly, I reflect on how making a fiction with gangs changed my way of dealing with ethnography: in terms of method, my positionality in the field, and ethnographic representation. The paper is also a call for taking the visual – and by extension other senses – more seriously. Not just by writing about sensory experiences, but by incorporating them in our academic work. Sometimes it is better to just let people see it!

Ludwig Wittgenstein's notion of aspect-seeing, and Stanley Cavell's notion of aspect-blindness, allow us to situate Abbas Kiarostami's quasi-documentary Close-Up (1990) as a radical revision of the genre that fundamentally challenges our assumptions about truth and representation in documentary film. Considering the film through the lens of Wittgenstein's and Cavell's philosophies of seeing puts pressure on the ethical dimension of the process of seeing as it is both enacted by and represented in the film. Kiarostami brings to the foreground the intransigent aspects of documented reality and unsettles certain aspects of the documentary process. In doing so, he reveals our blind spots about what we think documentary film does, or ought to do. Close-Up blends layers of the real: part documented present and part re-enacted past, the film recreates the story of a real group of people who become actors playing themselves, re-enacting the story for Kiarostami's camera, repeating all of their “lines” exactly (or perhaps not so exactly) as they recall them. Is this film a documentary? Is it fiction? Where is the “real,” and what is the truth? Is “truth” ever representable? For Kiarostami, as for Cavell, these questions of representation become ethical questions. With each unraveling of a layer of reality, Kiarostami reveals a new aspect and a new opportunity for his “characters” – and his audience – to see (or to fail to see) it.

Purpose This study was designed to assess the utility of a tool for automated analysis of rare vocabulary use in the spoken narratives of a group of school-age children from low-income communities. Method We evaluated personal and fictional narratives from 76 school-age children from low-income communities ( M age = 9;3 [years;months]). We analyzed children's use of rare vocabulary in their narratives, with the goal of evaluating relationships among rare vocabulary use, performance on standardized language tests, language sample measures, sex, and use of African American English. Results Use of rare vocabulary in school-age children is robustly correlated with established language sample measures. Male sex was also significantly associated with more frequent rare vocabulary use. There was no association between rare vocabulary use and use of African American English. Discussion Evaluation of rare vocabulary use in school-age children may be a culturally fair assessment strategy that aligns well with existing language sample measures.

The article discusses strategies adopted in Jonas Poher Rasmussen’s feature-length animated documentary Flee (2021) for crossing the cultural and emotional distance between audiences and the refugee protagonist Amin. Focus is on a central scene in which a group of Afghans sailing across the Baltic Sea in the early 1990s encounters a cruise ship from Norway, the crew of which reports the refugees to the authorities. Juxtaposing the scene with a historical cornerstone of non-fiction animation, The Sinking of the Lusitania (1918), and drawing on theories developed within the blue humanities, I argue that Flee attempts to remind today’s White western audiences that their position as ‘dry’ subjects – safely elevated above sea level, socially privileged and seemingly self-sufficient – is not a given. While destabilizing the targeted audiences’ assumptions of safety and encouraging (a politics of) listening, Flee seeks to serve as a ‘safe vessel’ for Amin. It does so through the dialogic treatment of its documentary subject and its drifting storytelling, and by offering an audio-visual alternative to the dominant contemporary media depictions of people fleeing across the Mediterranean.

Abstract Repentant harlots who became trans saints presented Byzantine hagiographers with a challenge. Thought to exhibit a lack of self-control and the excessive sexuality, associated with women, and sex workers in particular, – a subject of great concern for monastic authors – how could members of this stigmatized group achieve the standards of Christian piety, let alone saintly behavior? In portraying its fictional protagonist as an exemplum of masculine virtues in the context of nascent Palestinian monasticism, the anonymous Life of Pelagia highlights the non-binariness of social identities in early Byzantium, unsettling fixed gender categorization. Conceiving of a trans figure of an ascetic subverting conventional binaries, the Life creates a model for incorporating non-conforming masculinities of Byzantine society within the normative hagiographic genre.

AbstractThis essay identifies “selling out” as an enduring yet evolving concern in anglophone literary history, from the late nineteenth century's divided literary field to the “program era” to the increasingly global circuits of contemporary literary commerce. It begins with Henry James, showing how his canonical statements on modern narrative form emerged from commercial negotiations—an economic prehistory of “craft.” Selling out becomes a salient concern as intellectuals come to see commercial success as antithetical to modern art. This cultural anxiety changes, however, once creative writing programs begin systematically reconciling craft and commerce. Turning to Nam Le's celebrated short story collection The Boat, the second section shows how selling out came to entail a fear that minority writers might betray group solidarity through reductive or essentialist portrayals of identity. Finally, the essay's third section closes by situating Le within a global market for postcolonial fiction and its attendant concerns over commodifying exoticism.

This study seeks to examine the mathematical modelling skills of middle school seventh- and eighth-grade students. Participants were formed by eight secondary school students studying at a state secondary school in a medium-sized district of a medium-sized province in the Eastern Black Sea Region of Turkey in the 2020–2021 academic year. It is a qualitative research and is designed as a case study. The whole process was recorded by video by having the students work on the mathematical modelling activity named ‘Team Fiction’ prepared by the researcher. In the collection of data, the group work form and report form prepared by the researcher, along with student solution papers and researcher’s observation notes were used. All the data obtained were subjected to descriptive analysis and the following results were obtained: it is thought that regular modelling studies in schools will contribute to the development and change of modelling competencies of students. Keywords: Mathematical modelling, modelling skills, modelling activities, school students, middle school.

This essay first briefly examines African American novelist Chester Himes’ genre-defying position as prison writer turned detective writer, whose influence is clear not only in the usual suspects such as Walter Mosley but also in the Blaxploitation films of the early 1970s, and in the urban fiction tradition from Donald Goines and Iceberg Slim on down through today’s Triple Crown books and others. I then look at how Himes’ work has been received by the college students and incarcerated people who each spring for the past 20 years have worked together in reading groups set at the local county jail in a project linked to a class I teach, in order to raise questions about genre, audience and pedagogy. The two groups of readers, who may come to see each other as one group over the series of meetings, often develop readings of Himes’ novel that push back against the analysis I present in the classroom.

This research aims to describe how the Project Based Learning Model is implemented in the material Finding Elements of Fiction Works for class VIII SMP Negeri 12 Jambi City. The formulation of this research problem is how teachers apply the Project Based Learning model in the material Finding Elements of Fiction Works. This research uses qualitative methods and descriptive research type. The data source in this research is a teacher who teaches in a class in the Indonesian language subject. The data in this research is divided into two, the results of field research and the results of documentation. Data collection techniques in this research include observation, interviews, tests, documentation. In testing the validity of the data using triangulation techniques. This research was conducted at SMP Negeri 12 Jambi City. This research was conducted in 3 meetings. The results of this research are (1) Essential Questions and Project Determination Activities, the Indonesian language subject teacher asks essential questions to students and the determination of the project to be carried out is to find elements in a work of fiction made in a poster. (2) Activities at the project planning design stage, at the planning stage are carried out collaboratively by both the teacher and all students. (3) Activities at the schedule preparation stage, activities at this stage create a timeline for project work and create a deadline for project completion. (4) Activities at the stage of monitoring students and project progress, the teacher will act as a mentor for student activities in working on the project. (5) Activities at the results testing stage are carried out to assist teachers in measuring students' intelligence and taking grades for project assignments. (6) Activities at the learning experience evaluation stage, so that each group can see the results of the project assignments carried out so that they can make improvements according to the teacher's suggestions. Project based learning can be used as a learning model now. Instill didactic values in students so they are not arrogant. The research results can be used as a reference source for other researchers who want to research the same research with different studies and can be used as a guide.

In this article I explore works by three artists in which we can see images that relate to bereavement. In the work of the first two, Araya Rasdjarmrearnsook and Andres Serrano, we can see photographic images (still and moving) of human corpses, which have been criticized as morbid and unhealthy. However I argue that it is not in fact images of death or the dead that are problematic but those images which present or evoke evidence of the emotions associated with death, and create a situation where we imagine the circumstances of our own deaths or the death of those we love. Images of the dead are acceptable as long as they do not cause pain to the living, as in a video game fantasy or a fiction, or are seen as other and distant. In the second group of works, by Gustgav Metzger, The Absent Dead: The Surrogate Body, the body is not present either because the death has taken place at a distance, either in time or geographically, or both, and a new site must be created. In this section, I discuss Metzger’s auto-destructive art and argue that these works, through their ephemerality, embody a form of ‘meaning making’ and a possibility of the benefits of grief as described by Parkes.

This study attempts to explore and analyze how Ichchhuk revisits the official history of Nepal and rewrites it from the perspective of marginalized group in his poems “Haata Lagyo Sunya” (Achieved Zero in Hand), “Machha-Machha Bhyaguto” (Fish-Fish Frog) and “Euta Gauleko Diary” (One Villager’s Diary). It also projects how the poet blurs the boundary between fact and fiction in the light of new-historicist perspective that gives equal value to both history and literature. This research seeks to find out how the poet brings forth the history from the below and problematizes the history from the top model that has been characterized with the deceptive discourse of freedom, equality, democracy and human rights. The paper displays what contributing factors are responsible to dismantle the mainstream history and write history of the people. It also depicts the poet’s appeal to people with optimistic feeling and revolutionary spirit to create unity among the people of the margin and fight back against the powerful rulers to bring new sunshine in human life being liberated from the oppressive clutch of the feudal and fascist leaders who always deceive the people with illusive fish history. This article demonstrates Ichchhuk’s courage, will power and life force to valorize the common people’s history and to defy the official history. To justify how history should be rewritten, the researcher uses the new-historicist ideas of Michel Foucault, Stephen Greenblatt and Catherine Gallagher. This research work shows how poets like Ichchhuk raise consciousness in marginalized people of the world and raise voice in order to establish an egalitarian human society dismantling the official history and writing the inclusive history of the people.

What games do the characters in Latin American literature play?The “open text” concept allows us to look at the literary work through the prism of the game which an author plays or could potentially play with a recipient. However, in my article I would like to show what games literally! play the fictional characters created by authors from Latin America, namely: board games, games involving physical stimulation, group games, video games, etc. Regardless of the origin and social status, the characters in Latin American literature enjoy playing games, as we shall see by analyzing selected texts.

<p style="text-align: justify;"><strong>Objective. </strong>To describe the relations between liking visual representations of male same-sex romance and gender representations of young female fans of BL. <strong>Background. </strong>Nowadays there is a globally spread interest in manga among teenagers. Manga has a vast diversity of styles, genres, and followers. Nevertheless, some heterosexual girls quite often demonstrate stable interest in the manga sub-genre focusing on homoerotic relationships between young &ndash; and frequently androgynous &ndash; male characters. This research has addressed an issue whether heterosexual girls&rsquo; liking for visual representations of male homosexuality in Boy&rsquo;s Love (BL) comics relates to their gender representations. <strong>Study design. </strong>The survey among the members of the Internet Social Media Manga Publics included: description of socio-psychological effects of viewing BL pictures, scaling attitudes towards masculinity ideology, exploration of gender role beliefs and description of femininity concepts. Comparison of the data between BL fans and other members of Manga Publics being acquainted with Boys&rsquo; Love, but deliberately neglecting it. Mann&ndash;Whitney U test, Fisher F test, and Pearson&rsquo;s chi-squared test are used. <strong>Participants. </strong>Russian sample: 140 female respondents 11-45 years old (M=17,95; SD=4,84). Main group consists of 90 respondents 11-45 years old (M=18,88; SD=5,22). Control group consists of 50 respondents 12-27 years old (M=16,79; SD=3,10). <strong>Measurements. </strong>Questionnaire of socio-demographic characteristics. Author&rsquo;s scale of socio-psychological effects of visual representations. Masculinity Ideology in Relationships Scale by J.H. Pleck, F.L. Sonenstein, L.C. Ku. Gendered Personality Characteristics (I.S. Klyotsina). Masculinity and Femininity Questionnaire by T.A. Bessonova &ndash; psycho-semantic version by N.V. Dvoryanchikov for examining individual femininity constructs. <strong>Results. </strong>Girls that fond of homoerotic drawn fictions prefer non-normative gendered traits combinations and give specific interpretation of their femininity. BL followers significantly often describe their femininity with traditionally masculine traits. Gender polarization is weak. Gender identity of female BL fans comply with non-orthogonal conceptualization. They believe that core of gender identity in every human being should consist of gender-neutral characteristics. Male emotionality, represented in homoerotic drawings, arrests attention of all respondents. But BL fans are less likely to perceive men in the light of normative (hegemonic) masculinity. <strong>Conclusions.</strong> Straight girls&rsquo; enthusiasm for BL is grounded in the possibility of apprehending their gender non-normativity/non-conformity within a fictional realty, and in BL manga meta-genre capability to display adequately significant aspects of new non-normative gender practices and ensure their social affirmation.</p>

The article considers N. A. Durova's novels "The Sulphur Key" and E.A. Gan's "Utballa". A. Gan's "Utballa" as an example of romantic prose and, at the same time, the presence of ethnographic elements in the novels gives grounds to speak of "ethnographic romanticism". Romantic poetics demonstrated a strong interest in national originality of the people. This explains the presence of ethnographic elements in the novels, which describe the way of life of foreign ethnic groups (Cheremis and Kalmyks), customs, rituals, traditions and their mythology, and which function in the novels in different ways: in "Sernyi Kluch" they help create a romantic twoworld and its "peak" - the main character's character, whereas in "Utballa" ethnographic elements create an image of a diverse world full of vicissitudes, in which a real man in the guise of a woman preserves her deep spirituality to the end. The novels of Durova and Gan investigate the similarities and differences in the representation of the image of a foreign ethnic group and the archetype of national consciousness. The stories have much in common, which is due to the gender peculiarities embodied through ethnographic images. Ethnographic elements allow one to see a people and its traditions in all their identity and beauty. In the novels, ethnography is used as a leading expressive medium, providing information on the mentality of the people, their moral norms and national history. In their everyday scenes and pictures, the authors saturate the narration with folk tales that are an integral part and essential element of the characterization of the hero. The description of everyday life is given in realistic tones (rituals of religious services, weddings) and filled with rich colours and vivid details. The life of the people, legends, nature and people's characters merge, conveying the uniqueness of everyday life and a vivid picture of life. Ethnography is a marker of national culture that develops under specific conditions that define its uniqueness: long-established customs and habits, moral notions, everyday life, etc., and it reflects and explains through fiction the realities of life and the characters of its characters as typical representatives of a particular nation. Understanding the life and culture of the people is always based on the writer's life experience and fiction.

Today´s projection art on public surfaces developed from the mutual approximation of painting, architecture, and lighting during centuries. The terms “Spatial Augmented Reality” (SAR) and “projection mapping” describe mostly temporary large screen projections on urban surfaces. The façade architecture becomes the screen for the content, mostly projected 2D and 3D animations. In essence, many of these artworks generate illusionistic clips deriving from the existing façade structure, allowing reality and fiction to merge audio visually. Artists, architects, curators, and institutions are increasingly aware of their responsibility related to this form of the mediatization of architecture, as shown, for example, by the Brazilian artist group Visualfarm. Their members approach their work as a counterpoint to the commercialization of public space in its appropriation by industry, propaganda, and advertising. But on the other hand, they also make a living from commercial assignments. Artists and architects often see themselves as pioneers and experimental researchers for possible developments in the coming digitized cities. By presenting various examples by selected artists like Corrie Francis Parks, Pablo Valbuena and Robert Seidel, the role of animation in connection with an alternative approach to the concepts of augmented realities within this process of social and urban evolution will be discussed. These artists try to integrate digital content into the cityscape in a harmonious sense.

If connections and experiences make us happy, why do we buy things? In this work of philosophical short story fiction, Nikolay runs a tour company in Uzbekistan. When his employee gets sick, he must take a group of American tourists to see a local walnut tree in a small village, then to Lake Urungach for photos. Their bus breaks down in the small village and they are forced to spend the day there while waiting for replacement transportation. A tough situation becomes festive when they decide to have a BBQ by the town walnut tree. Beer becomes wine as the day winds on and, eventually a traditional band comes out to play and keep them company. As it gets dark the power in the small town goes out so they decide to build a fire to continue their drinking and revelry into the night. Steve, an unhappy lawyer on yet another vacation meets Sevara, the beautiful Cambridge educated daughter of the village elder and is forced to wonder if its too late to start the type of life he wishes he’d always been living; a life full of simple joy, instead of acquisition. Finally, the replacement bus shows up and the tourists (many of which are now too drunk to walk) are sent home to their hotels.

Written and directed by Marzia Jamili, a Hazara refugee now living in Sweden, Unimaginable Dreams is an auto-ethnographic essay film that traces Marzia’s last days in Athens, Greece. Blending documentary and fiction, Marzia casts her best friends to recreate magically real versions of her dearest memories of Athens as she delivers a cutting address to Afghanistan, in which she tells the sea about her broken homeland. This film project seeks to demonstrate the possibilities of collaborative filmmaking as a methodology, particularly in response to the limitations of etic observational approaches in migration research and the lack of refugee voices in public discourse. Through reenactment and Marzia’s epistolary narrative, Unimaginable Dreams resurfaces notions of belonging and citizenship within the imagination, weaving together oneiric and real geographies situated in the past and future. Facing perpetual displacement and public erasure, the film medium offers a declarative space of visibility in Athens, where its maker articulates rights and desires denied by the state. Unimaginable Dreams is the first production by the Melissa Network's Film Club, a collaborative program cofounded by Brittany Nugent and Dove Barbanel that challenges hegemonic representations of migrant women by empowering members to reclaim the gaze and create narratives of their own. A creative group of women from Afghanistan, Iran, Syria, Iraq, Kenya, Nigeria and Ethiopia share diverse perspectives to analyze their favorite movies, learn filmmaking skills and collaborate on original productions that add urgent personal nuance and depth to migration storytelling.

Amidst a variety of cultural cum representational notions of individual or group identity, postcolonial studies attempt not only to explore and unfold how Eurocentric logos builds social realities but employs ways also to deconstruct the stereotypes. It provides theorists and critics with analytical methods to see how a fictional work supports or subverts a common paradigm based on Eurocentrism. The aim of this paper is to analyze Robert Greene's play Selimus and Western logos rules oriental discourse and how the Orient is (mis)represented. The study contends that the play under-study follows the traditional literary chain of ousting the Orient from the center either by making it suppressed or a satanic evil. In Selimus, for instance, the Turks, like other oriental races such as the Arabs, the Moors, the Persians and so on, are represented in the early modern writings as the "grand evil" whose infidelity is a threat to the Christian world.

The article deals with the reflection in the literature of the process of mythologizing the image of Odessa. The author understands the myth as a symbolic designation of objects, historical events, objects of the external world, belonging to the space of psychic reality. The purpose of the mythologizing as the process is the expression of a generalized idea of something or someone, as well as giving to events, persons, objects with a universal sense . The subject of the article is the novel of modern writers S. Anufriev and Pepperstein“Mythogenic love of castes”. Both writers are the organizers of the Medical Hermeneutics group and refer themselves to younger conceptualists. Such postmodern writers pay special attention to various senses that are traditionally attached to phrases, attitudes, concepts. In the novel by Anufriev and Pepperstein, the reader includes to the space of a fabulous, psychic (virtual) and historical reality. The novel refers to the events of the Second World War, it’s hero takes part in key battles with the Nazis. However, fabulous heroes help him to defeat. And the reader sees these events as they are perceived by a participant in the war of the early 1940s and at the same time – by a modern person living at the end of the twentieth century. Theimage of Odessa is created in the twenty-first chapter of the novel. It names the real historical persons (Badayev, Yasha Gordienko). These heroes take part in fictional events along with fictional characters. The article considers such signatures of Odessa: Deribasovskaya street, Opera House, Archaeological Museum, the sea, sea port. The article contains words that relate to the “Odessa” language and their meanings. Special attention is paid to Odessa songs (folklore and author’s). At the same time, attention is drawn to the lack of historical accuracy in a number of images and details. Odessa in the novel by Anufriev and Pepperstein is both a real city and a city that has turned into a myth.

This article provides a description of the British Sentimental Novel Corpus (BSNC) and a case study that explores, at the level of the individual, the relation between the Reaction Object Construction (ROC) and the Direct Discourse Construction (DDC). The BSNC is a large-scale specialised corpus that comprises full novels of eleven canonical authors across three generations from 19th century British fiction. It aims at studying language as both a social and a cognitive phenomenon and, in line with a recent trend in historical sociolinguistics, at exploring the interaction between individual and aggregate levels (see Fonteyn 2017; Hilpert 2020; Petré et al. 2019). The first part describes the methodological principles that underlie the design and compilation of the BSNC. In the second part, we present a new case study that aims to determine whether our previous aggregate findings also hold at the individual level. The results serve to confirm our hypothesis: first, individual changes in the ROC and the DDC run in parallel across almost the entire 19th century, correlating most significantly between 1851 and 1860. Second, the aggregate-level division of labour between these two functionally similar constructions turned out to be a feature of all authors in the BSNC. Last, the ROC-DDC alternation has been attested in an important proportion of the BSNC novels, with only a relatively small group of texts using solely the older and less extravagant variant (i.e. the DDC). This suggests that the alternation as such represents a cognitive reality for these individual writers across their lifespan.

The article is devoted to the image of the USSR, which is formed in the fiction of Finland in the XX-XXI centuries. Attention is paid to both prose and poetic works. Each of the selected authors presents the reader a special view of the history of the Soviet Union and adjacent countries, makes an attempt to see well-known events in a new way, show them from the point of view of the Finnish Swedes, Finns, Estonians, pay attention to new details of history. The article compares the positions of writers of different generations: the group of «flame-bearers» of the early XX century («Tulenkantajat»), who reflected the interest of the world community in the emergence of a young Soviet state, and our contemporaries for the same era. The problems that exist in Soviet society are becoming noticeable. Writers try to find a balance between the positive and negative aspects of Soviet history, to show the fate of a particular person. Authors are also interested in outstanding representatives of Russian culture and history (for example, Dostoevsky and Gogol). Memories of writers about their stay in the USSR influence the formation of the figurative system of their works. The object of the image is not only specific people, but also cities: Leningrad, Murmansk, Moscow, the impression of them is extrapolated to the country as a whole. The personality of the writer, reflected in the choice of the historical period, the main character and the point of view on the history of the USSR, gives special value and uniqueness to each of the selected novels and poems.

The present paper aims at showing that ‘cognitive reference points’ (CRPs, see Rosch [1975] and Langacker [1999]) have a crucial role in construing the meaning of a significant group of Hungarian folksongs. In line with the dynamic view on construal, according to which conceptualization unfolds through processing time, the paper argues that building up conceptions via CRPs and their larger configurations outline a mental path, representing a metaphorical emotional approach. The development of the physical route as mental route evolves in a gradual transfer from Perceptual space to Non-actual space, where a salient entity has a ‘gate’ function between mental spaces. Some notions such as ‘mental simulation’ (Langacker 1999), ‘abstract motion’ (Matlock 2010), ‘fictive motion’ (Talmy 2000), or ‘subjective motion’ (Langacker 1987; Matsumoto 1996; Brandt 2009) apply to this specific pattern of construal, namely, motion or change experienced by the conceptualizer along his attention path, which manifests here in different forms of subjectivity. The ordering and directionality of CRPs, along with the metaphorical implications of each entity serving as reference points, thus have important semantic relevance and forms an essential component of meaning construal in this lyrical text type.

While English teachers are working to incorporate various versions of the Common Core State Standards into their curriculum, they are often emphasizing canonical fiction over alternative literature that students may connect with at a higher engagement level. Young Adult (YA) literature may help teachers meet the needs of the whole student as well as local standards. The purposes of this study were (1) to explore how students engaged with reading and writing after reading YA literature, (2) to evaluate whether the YA students’ writing samples differed from the canonical group’s, (3) to determine if students see themselves as better writers after the experience, and (4) to examine the teacher’s perception of reading YA Literature. The research was conducted in a single teacher’s 9th grade classes at an urban high school in the Southwest with a primarily Hispanic population. Two groups worked with canonical literature, and two groups worked with YA literature. All students were given a modified version of the Daly Miller Writing Apprehension Survey before and after they read either a YA short story or a classic short story. They then constructed a writing sample using the same generic prompt for all groups. Several students and the teacher were interviewed after the process. Quantitative results showed that students who read the YA pieces increased their mean score on the modified Daly Miller Survey. Their writing samples had a greater mean score than the canonical group. The qualitative results also indicated greater engagement and understanding of the YA literature, while the teacher expressed enjoyment in teaching both pieces since they were both received well by the students. Finding that students improved in a quantifiable way after using YA literature indicates that there are pedagogical reasons to incorporate YA literature in the classroom, in addition to enhancing enjoyment.

This paper is meant to study the apocalyptic scenario of the at the perspectives of the Great Acceleration. the apocalyptic scenario is not a pure imagination of the literature works. Instead, scientific evidences are in favour of dramatic change in the climatic conditions related to the climax of Man actions. the modelling of the future climate leads to horrible situations including intolerable temperatures, dryness, tornadoes, and noticeable sear level rise evading coastal regions. Going far from these scientific claims, Homo Sapiens Sapiens extended his imagination through the Climate-Fiction (cli-fi) to propose a dramatic end. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Introduction The Great Acceleration may be considered as the Late Anthropocene in which Man actions reached their climax to lead to dramatic climatic changes paving the way for a possible apocalyptic scenario threatening the existence of the humanity. So, the apocalyptic scenario is not a pure imagination of the literature works. Instead, many scientific arguments especially related to climate change are in favour of the apocalypse1. As a matter of fact, the modelling of the future climate leads to horrible situations including intolerable temperatures (In 06/07/2021, Kuwait recorded the highest temperature of 53.2 °C), dryness, tornadoes, and noticeable sear level rise evading coastal regions. These conditions taking place during the Great Acceleration would have direct repercussions on the human species. Considering that the apocalyptic extinction had really caused the disappearance of many stronger species including dinosaurs, Homo Sapiens Sapiens extended his imagination though the Climate-Fiction (cli-fi) to propose a dramatic end due to severe climate conditions intolerable by the humankind. The mass extinction of animal species has occurred several times over the geological ages. Researchers have a poor understanding of the causes and processes of these major crises1. Nonetheless, whatever the cause of extinction, the apocalyptic scenario has always been present in the geological history. For example, dinosaurs extinction either by asteroids impact or climate changes could by no means denies the apocalyptic aspect2.At the same time as them, many animal and plant species became extinct, from marine or flying reptiles to marine plankton. This biological crisis of sixty-five million years ago is not the only one that the biosphere has suffered. It was preceded and followed by other crises which caused the extinction or the rarefaction of animal species. So, it is undeniable that many animal groups have disappeared. It is even on the changes of fauna that the geologists of the last century have based themselves to establish the scale of geological times, scale which is still used. But it is no less certain that the extinction processes, extremely complex, are far from being understood. We must first agree on the meaning of the word "extinction", namely on the apocalyptic aspect of the concept. It is quite understood that, without disappearances, the evolution of species could not have followed its course. Being aware that the apocalyptic extinction had massacred stronger species that had dominated the planet, Homo Sapiens Sapiens has been aware that the possibility of apocalyptic end at the perspective of the Anthropocene (i.e., Great Acceleration) could not be excluded. This conviction is motivated by the progressive defaunation in some regions3and the appearance of alien species in others related to change of mineralogy and geochemistry4 leading to a climate change during the Anthropocene. These scientific claims fed the vast imagination about climate change to set the so-called cli-fi. The concept of the Anthropocene is the new geological era which begins when the Man actions have reached a sufficient power to modify the geological processes and climatic cycles of the planet5. The Anthropocene by no means excludes the possibility of an apocalyptic horizon, namely in the perspectives of the Great Acceleration. On the contrary, two scenarios do indeed seem to dispute the future of the Anthropocene, with a dramatic cross-charge. The stories of the end of the world are as old as it is, as the world is the origin of these stories. However, these stories of the apocalypse have evolved over time and, since the beginning of the 19th century, they have been nourished particularly by science and its advances. These fictions have sometimes tried to pass themselves off as science. This is the current vogue, called collapsology6. This end is more than likely cli-fi driven7and it may cause the extinction of the many species including the Homo Sapiens Sapiens. In this vein, Anthropocene defaunation has become an ultimate reality8. More than one in eight birds, more than one in five mammals, more than one in four coniferous species, one in three amphibians are threatened. The hypothesis of a hierarchy within the living is induced by the error of believing that evolution goes from the simplest to the most sophisticated, from the inevitably stupid inferior to the superior endowed with an intelligence giving prerogative to all powers. Evolution goes in all directions and pursues no goal except the extension of life on Earth. Evolution certainly does not lead from bacteria to humans, preferably male and white. Our species is only a carrier of the DNA that precedes us and that will survive us. Until we show a deep respect for the biosphere particularly, and our planet in general, we will not become much, we will remain a predator among other predators, the fiercest of predators, the almighty craftsman of the Anthropocene. To be in the depths of our humanity, somehow giving back to the biosphere what we have taken from it seems obvious. To stop the sixth extinction of species, we must condemn our anthropocentrism and the anthropization of the territories that goes with it. The other forms of life also need to keep their ecological niches. According to the first, humanity seems at first to withdraw from the limits of the planet and ultimately succumb to them, with a loss of dramatic meaning. According to the second, from collapse to collapse, it is perhaps another humanity, having overcome its demons, that could come. Climate fiction is a literary sub-genre dealing with the theme of climate change, including global warming. The term appears to have been first used in 2008 by blogger and writer Dan Bloom. In October 2013, Angela Evancie, in a review of the novel Odds against Tomorrow, by Nathaniel Rich, wonders if climate change has created a new literary genre. Scientific basis of the apocalyptic scenario in the perspective of the Anthropocene Global warming All temperature indices are in favour of a global warming (Fig.1). According to the different scenarios of the IPCC9, the temperatures of the globe could increase by 2 °C to 5 °C by 2100. But some scientists warn about a possible runaway of the warming which can reach more than 3 °C. Thus, the average temperature on the surface of the globe has already increased by more than 1.1 °C since the pre-industrial era. The rise in average temperatures at the surface of the globe is the first expected and observed consequence of massive greenhouse gas emissions. However, meteorological surveys record positive temperature anomalies which are confirmed from year to year compared to the temperatures recorded since the middle of the 19th century. Climatologists point out that the past 30 years have seen the highest temperatures in the Northern Hemisphere for over 1,400 years. Several climatic centres around the world record, synthesize and follow the evolution of temperatures on Earth. Since the beginning of the 20th century (1906-2005), the average temperature at the surface of the globe has increased by 0.74 °C, but this progression has not been continuous since 1976, the increase has clearly accelerated, reaching 0.19 °C per decade according to model predictions. Despite the decline in solar activity, the period 1997-2006 is marked by an average positive anomaly of 0.53 °C in the northern hemisphere and 0.27 °C in the southern hemisphere, still compared to the normal calculated for 1961-1990. The ten hottest years on record are all after 1997. Worse, 14 of the 15 hottest years are in the 21st century, which has barely started. Thus, 2016 is the hottest year, followed closely by 2015, 2014 and 2010. The temperature of tropical waters increased by 1.2 °C during the 20th century (compared to 0.5 °C on average for the oceans), causing coral reefs to bleach in 1997. In 1998, the period of Fort El Niño, the prolonged warming of the water has destroyed half of the coral reefs of the Indian Ocean. In addition, the temperature in the tropics of the five ocean basins, where cyclones form, increased by 0.5 °C from 1970 to 2004, and powerful cyclones appeared in the North Atlantic in 2005, while they were more numerous in other parts of the world. Recently, mountains of studies focused on the possible scenario of climate change and the potential worldwide repercussions including hell temperatures and apocalyptic extreme events10 , 11, 12. Melting of continental glaciers As a direct result of the global warming, melting of continental glaciers has been recently noticed13. There are approximately 198,000 mountain glaciers in the world; they cover an area of approximately 726,000 km2. If they all melted, the sea level would rise by about 40 cm. Since the late 1960s, global snow cover has declined by around 10 to 15%. Winter cold spells in much of the northern half of the northern hemisphere are two weeks shorter than 100 years ago. Glaciers of mountains have been declining all over the world by an average of 50 m per decade for 150 years. However, they are also subject to strong multi-temporal variations which make forecasts on this point difficult according to some specialists. In the Alps, glaciers have been losing 1 meter per year for 30 years. Polar glaciers like those of Spitsbergen (about a hundred km from the North Pole) have been retreating since 1880, releasing large quantities of water. The Arctic has lost about 10% of its permanent ice cover every ten years since 1980. In this region, average temperatures have increased at twice the rate of elsewhere in the world in recent decades. The melting of the Arctic Sea ice has resulted in a loss of 15% of its surface area and 40% of its thickness since 1979. The record for melting arctic sea ice was set in 2017. All models predict the disappearance of the Arctic Sea ice in summer within a few decades, which will not be without consequences for the climate in Europe. The summer melting of arctic sea ice accelerated far beyond climate model predictions. Added to its direct repercussions of coastal regions flooding, melting of continental ice leads to radical climatic modifications in favour of the apocalyptic scenario. Fig.1 Evolution of temperature anomaly from 1880 to 2020: the apocalyptic scenario Sea level rise As a direct result of the melting of continental glaciers, sea level rise has been worldwide recorded14 ,15. The average level of the oceans has risen by 22 cm since 1880 and 2 cm since the year 2000 because of the melting of the glaciers but also with the thermal expansion of the water. In the 20th century, the sea level rose by around 2 mm per year. From 1990 to 2017, it reached the relatively constant rate of just over 3mm per year. Several sources contributed to sea level increase including thermal expansion of water (42%), melting of continental glaciers (21%), melting Greenland glaciers (15%) and melting Antarctic glaciers (8%). Since 2003, there has always been a rapid rise (around 3.3 mm / year) in sea level, but the contribution of thermal expansion has decreased (0.4 mm / year) while the melting of the polar caps and continental glaciers accelerates. Since most of the world’s population is living on coastal regions, sea level rise represents a real threat for the humanity, not excluding the apocalyptic scenario. Multiplication of extreme phenomena and climatic anomalies On a human scale, an average of 200 million people is affected by natural disasters each year and approximately 70,000 perish from them. Indeed, as evidenced by the annual reviews of disasters and climatic anomalies, we are witnessing significant warning signs. It is worth noting that these observations are dependent on meteorological survey systems that exist only in a limited number of countries with statistics that rarely go back beyond a century or a century and a half. In addition, scientists are struggling to represent the climatic variations of the last two thousand years which could serve as a reference in the projections. Therefore, the exceptional nature of this information must be qualified a little. Indeed, it is still difficult to know the return periods of climatic disasters in each region. But over the last century, the climate system has gone wild. Indeed, everything suggests that the climate is racing. Indeed, extreme events and disasters have become more frequent. For instance, less than 50 significant events were recorded per year over the period 1970-1985, while there have been around 120 events recorded since 1995. Drought has long been one of the most worrying environmental issues. But while African countries have been the main affected so far, the whole world is now facing increasingly frequent and prolonged droughts. Chile, India, Australia, United States, France and even Russia are all regions of the world suffering from the acceleration of the global drought. Droughts are slowly evolving natural hazards that can last from a few months to several decades and affect larger or smaller areas, whether they are small watersheds or areas of hundreds of thousands of square kilometres. In addition to their direct effects on water resources, agriculture and ecosystems, droughts can cause fires or heat waves. They also promote the proliferation of invasive species, creating environments with multiple risks, worsening the consequences on ecosystems and societies, and increasing their vulnerability. Although these are natural phenomena, there is a growing understanding of how humans have amplified the severity and impacts of droughts, both on the environment and on people. We influence meteorological droughts through our action on climate change, and we influence hydrological droughts through our management of water circulation and water processes at the local scale, for example by diverting rivers or modifying land use. During the Anthropocene (the present period when humans exert a dominant influence on climate and environment), droughts are closely linked to human activities, cultures, and responses. From this scientific overview, it may be concluded apocalyptic scenario is not only a literature genre inspired from the pure imagination. Instead, many scientific arguments are in favour of this dramatic destiny of Homo Sapiens Sapiens. Fig.2. Sea level rise from 1880 to 2020: a possible apocalyptic scenario (www.globalchange.gov, 2021) Apocalyptic genre in recent writing As the original landmark of apocalyptic writing, we must place the destruction of the Temple of Jerusalem in 587 BC and the Exile in Babylon. Occasion of a religious and cultural crossing with imprescriptible effects, the Exile brought about a true rebirth, characterized by the maintenance of the essential ethical, even cultural, of a national religion, that of Moses, kept as pure as possible on a foreign land and by the reinterpretation of this fundamental heritage by the archaic return of what was very old, both national traditions and neighbouring cultures. More precisely, it was the place and time for the rehabilitation of cultures and the melting pot for recasting ancient myths. This vast infatuation with Antiquity, remarkable even in the vocabulary used, was not limited to Israel: it even largely reflected a general trend. The long period that preceded throughout the 7th century BC and until 587, like that prior to the edict of Cyrus in 538 BC, was that of restorations and rebirths, of returns to distant sources and cultural crossings. In the biblical literature of this period, one is struck by the almost systematic link between, on the one hand, a very sustained mythical reinvestment even in form and, on the other, the frequent use of biblical archaisms. The example of Shadday, a word firmly rooted in the Semites of the Northwest and epithet of El in the oldest layers of the books of Genesis and Exodus, is most eloquent. This term reappears precisely at the time of the Exile as a designation of the divinity of the Patriarchs and of the God of Israel; Daily, ecological catastrophes now describe the normal state of societies exposed to "risks", in the sense that Ulrich Beck gives to this term: "the risk society is a society of catastrophe. The state of emergency threatens to become a normal state there1”. Now, the "threat" has become clearer, and catastrophic "exceptions" are proliferating as quickly as species are disappearing and climate change is accelerating. The relationship that we have with this worrying reality, to say the least, is twofold: on the one hand, we know very well what is happening to us; on the other hand, we fail to draw the appropriate theoretical and political consequences. This ecological duplicity is at the heart of what has come to be called the “Anthropocene”, a term coined at the dawn of the 21st century by Eugene Stoermer (an environmentalist) and Paul Crutzen (a specialist in the chemistry of the atmosphere) in order to describe an age when humanity would have become a "major geological force" capable of disrupting the climate and changing the terrestrial landscape from top to bottom. If the term “Anthropocene” takes note of human responsibility for climate change, this responsibility is immediately attributed to overpowering: strong as we are, we have “involuntarily” changed the climate for at least two hundred and fifty years. Therefore, let us deliberately change the face of the Earth, if necessary, install a solar shield in space. Recognition and denial fuel the signifying machine of the Anthropocene. And it is precisely what structures eco-apocalyptic cinema that this article aims to study. By "eco-apocalyptic cinema", we first mean a cinematographic sub-genre: eco-apocalyptic and post-eco-apocalyptic films base the possibility (or reality) of the end of the world on environmental grounds and not, for example, on damage caused by the possible collision of planet Earth with a comet. Post-apocalyptic science fiction (sometimes abbreviated as "post-apo" or "post-nuke") is a sub-genre of science fiction that depicts life after a disaster that destroyed civilization: nuclear war, collision with a meteorite, epidemic, economic or energy crisis, pandemic, alien invasion. Conclusion Climate and politics have been linked together since Aristotle. With Montesquieu, Ibn Khaldûn or Watsuji, a certain climatic determinism is attributed to the character of a nation. The break with modernity made the climate an object of scientific knowledge which, in the twentieth century, made it possible to document, despite the controversies, the climatic changes linked to industrialization. Both endanger the survival of human beings and ecosystems. Climate ethics are therefore looking for a new relationship with the biosphere or Gaia. For some, with the absence of political agreements, it is the beginning of inevitable catastrophes. For others, the Anthropocene, which henceforth merges human history with natural history, opens onto technical action. The debate between climate determinism and human freedom is revived. The reference to the biblical Apocalypse was present in the thinking of thinkers like Günther Anders, Karl Jaspers or Hans Jonas: the era of the atomic bomb would mark an entry into the time of the end, a time marked by the unprecedented human possibility of 'total war and annihilation of mankind. The Apocalypse will be very relevant in describing the chaos to come if our societies continue their mad race described as extra-activist, productivist and consumerist. In dialogue with different theologians and philosophers (such as Jacques Ellul), it is possible to unveil some spiritual, ethical, and political resources that the Apocalypse offers for thinking about History and human engagement in the Anthropocene. What can a theology of collapse mean at a time when negative signs and dead ends in the human situation multiply? What then is the place of man and of the cosmos in the Apocalypse according to Saint John? Could the end of history be a collapse? How can we live in the time we have left before the disaster? Answers to such questions remain unknown and no scientist can predict the trajectory of this Great Acceleration taking place at the Late Anthropocene. When science cannot give answers, Man tries to infer his destiny for the legend, religion and the fiction. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Aware of the prospect of ecological collapse additionally as our apparent inability to avert it, we tend to face geology changes of forceful proportions that severely challenge our ability to imagine the implications. Climate fiction ought to be considered an important supplement to climate science, as a result, climate fiction makes visible and conceivable future modes of existence inside worlds not solely deemed seemingly by science, however that area unit scientifically anticipated. Hence, this chapter, as part of the book itself, aims to contribute to studies of ecocriticism, the environmental humanities, and literary and culture studies. References David P.G. Bondand Stephen E. Grasby. "Late Ordovician mass extinction caused by volcanism, warming, and anoxia, not cooling and glaciation: REPLY." Geology 48, no. 8 (Geological Society of America2020): 510. Cyril Langlois.’Vestiges de l'apocalypse: ‘le site de Tanis, Dakota du Nord 2019’. Accessed June, 6, 2021, https://planet-terre.ens-lyon.fr/pdf/Tanis-extinction-K-Pg.pdf NajouaGharsalli,ElhoucineEssefi, Rana Baydoun, and ChokriYaich. ‘The Anthropocene and Great Acceleration as controversial epoch of human-induced activities: case study of the Halk El Menjel wetland, eastern Tunisia’. Applied Ecology and Environmental Research 18(3) (Corvinus University of Budapest 2020): 4137-4166 Elhoucine Essefi, ‘On the Geochemistry and Mineralogy of the Anthropocene’. International Journal of Water and Wastewater Treatment, 6(2). 1-14, (Sci Forschen2020): doi.org/10.16966/2381-5299.168 Elhoucine Essefi. ‘Record of the Anthropocene-Great Acceleration along a core from the coast of Sfax, southeastern Tunisia’. Turkish journal of earth science, (TÜBİTAK,2021). 1-16. Chiara Xausa. ‘Climate Fiction and the Crisis of Imagination: Alexis Wright’s Carpentaria and The Swan Book’. Exchanges: The Interdisciplinary Research Journal 8(2), (WARWICK 2021): 99-119. Akyol, Özlem. "Climate Change: An Apocalypse for Urban Space? An Ecocritical Reading of “Venice Drowned” and “The Tamarisk Hunter”." Folklor/Edebiyat 26, no. 101 (UluslararasıKıbrısÜniversitesi 2020): 115-126. Boswell, Suzanne F. "The Four Tourists of the Apocalypse: Figures of the Anthropocene in Caribbean Climate Fiction.". Paradoxa 31, (Academia 2020): 359-378. Ayt Ougougdal, Houssam, Mohamed YacoubiKhebiza, Mohammed Messouli, and Asia Lachir. "Assessment of future water demand and supply under IPCC climate change and socio-economic scenarios, using a combination of models in Ourika Watershed, High Atlas, Morocco." Water 12, no. 6 (MPDI 2020): 1751.DOI:10.3390/w12061751. Wu, Jia, Zhenyu Han, Ying Xu, Botao Zhou, and Xuejie Gao. "Changes in extreme climate events in China under 1.5 C–4 C global warming targets: Projections using an ensemble of regional climate model simulations." Journal of Geophysical Research: Atmospheres 125, no. 2 (Wiley2020): e2019JD031057.https://doi.org/10.1029/2019JD031057 Khan, Md Jamal Uddin, A. K. M. Islam, Sujit Kumar Bala, and G. M. Islam. "Changes in climateextremes over Bangladesh at 1.5° C, 2° C, and 4° C of global warmingwith high-resolutionregionalclimate modeling." Theoretical&AppliedClimatology 140 (EBSCO2020). Gudoshava, Masilin, Herbert O. Misiani, Zewdu T. Segele, Suman Jain, Jully O. Ouma, George Otieno, Richard Anyah et al. "Projected effects of 1.5 C and 2 C global warming levels on the intra-seasonal rainfall characteristics over the Greater Horn of Africa." Environmental Research Letters 15, no. 3 (IOPscience2020): 34-37. Wang, Lawrence K., Mu-Hao Sung Wang, Nai-Yi Wang, and Josephine O. Wong. "Effect of Global Warming and Climate Change on Glaciers and Salmons." In Integrated Natural Resources Management, ed.Lawrence K. Wang, Mu-Hao Sung Wang, Yung-Tse Hung, Nazih K. Shammas(Springer 2021), 1-36. Merschroth, Simon, Alessio Miatto, Steffi Weyand, Hiroki Tanikawa, and Liselotte Schebek. "Lost Material Stock in Buildings due to Sea Level Rise from Global Warming: The Case of Fiji Islands." Sustainability 12, no. 3 (MDPI 2020): 834.doi:10.3390/su12030834 Hofer, Stefan, Charlotte Lang, Charles Amory, Christoph Kittel, Alison Delhasse, Andrew Tedstone, and Xavier Fettweis. "Greater Greenland Ice Sheet contribution to global sea level rise in CMIP6." Nature communications 11, no. 1 (Nature Publishing Group 2020): 1-11.

Introduction: Cisgender Black women comprise 67% of new human immunodeficiency virus (HIV) diagnoses among women in the South and are 11 times more likely to become HIV positive than White women in Texas. Optimal progress toward ending the HIV epidemic requires strategies that will interrupt transmission pathways in hotspot locations like Harris County, TX. Researchers are calling for public health interventions that can prevent HIV and sexually transmitted infections (STI) transmission; thus, we launched the first video log (vlog)-based, pilot HIV prevention intervention. Methods: In a prospective. randomized controlled trial of two educational intervention strategies delivered as vlogs eligible participants were randomized to either 1) an interactive gaming, education-based strategy, or 2) a storytelling, education-based strategy. Eligible participants were cisgender Black women being seen in the emergency department (ED) for a non-emergent condition who reported recent condomless heterosexual sex, were ages 18-45, and had social media access. Enrolled women completed a screening assessment, informed consent, randomization, and 10-item pre-and-post assessments with true/false statements before and after viewing a brief vlog on a tablet device to identify changes in knowledge before and after being educated on HIV/STI transmission. Results: Twenty-six women were randomized to the Taboo group, an interactive gaming, education-based strategy, (14 [53.8%]), or to storytelling, an education-based strategy using non-fictional and fictional case scenarios (12 [46.2%]). Taboo participants self-identified as African-American (12 [85.7%]), Black (1 [7.1%]) or “other” (1 [7.1%]), were younger (28.6% were ≥ 30 years), single (57.1%), reported a previous STI (8 [57.1%]), and were likely employed (57.2%). Storytelling participants self-identified as African-American (7 [58.3%]) or Black (5 [41.7%]), were older (49.9% were ≥ 30 years), in a relationship but not married (50%), and half were unemployed. Highest level of education and monthly income varied. The storytelling strategy increased knowledge in two areas and the Taboo strategy increased knowledge in one. No intervention effect was identified in three areas, and a significant decrease in knowledge (P < .0001) was discerned in eight areas for Taboo and six areas for storytelling. Conclusion: Further research is necessary to confirm whether delivery of HIV prevention interventions with vlogs is a useful approach for HIV-vulnerable populations. Findings suggest that vlogs are a feasible approach to brief behavioral interventions during an ED visit.

Evidence suggests disclosing an autism diagnosis is associated with reduced stigmatization for autistic adults. However, it is unknown whether this is true for autistic adolescents. We used a vignette-and-questionnaire design to study stigmatizing attitudes with adolescents (aged 11–12 and 14–16 years, total N = 250) in a UK school. We investigated the effect of disclosing that a fictional adolescent had an autism diagnosis on stigmatizing attitudes of peers by testing the effect of disclosure of diagnosis on the social and emotional distance pupils wanted to maintain from the autistic adolescent. We also tested the effect of disclosure on peers’ assessment of the adolescent’s responsibility for their own behaviour. We checked to see if the effects were moderated by gender and age-group. Disclosing autism did not affect the social and emotional distance peers wanted to maintain from the autistic adolescent, but was associated with significant reduction in personal responsibility attributed to the adolescent’s behaviour. Boys attributed more personal responsibility to the autistic adolescent than girls, but this gender effect was reduced when autism was disclosed. These findings suggest that disclosing autism to other pupils may be of limited use in reducing stigmatization by peers in UK schools.

The events often contained in any narrative work contribute to the formation of the consciousness of the characters in the work, no matter how superficial that consciousness, as well as the consciousness of the writer that transmits it in one or a group of his works, through his characters who contribute to a set of events and interactions between them by revealing their vision for themselves and each other, in addition to their pronouncement of judgments resulting from their consciousness of what happened in their past and what is happening in their surroundings. Consciousness is one of the most prominent features that we can find in a character that has an independent existence, and has its own style of perceiving situations and facts surrounding it, which lives in its world, as well as realizing what is going on in itself in advance. Hence, we deal with this research of the fictional characters in the novel (Al-Masarrat Wal Awja’) by the Iraqi novelist Fuad al-Takarli from this aspect that was said to have been addressed by critical studies, to reveal a mechanism that shapes these characters’ consciousness of themselves and others, their references and their vision of the world that the author conveys to us through his narrator. Our choice of novel (Al-Masarrat Wal Awja’) was due to the writer’s care of his main and secondary characters and the multiplicity of their social and cultural levels, which enriched the fictional work in terms of the references that each character reflects and refers to, especially the main character (Tawfiq), which we see once existential, once agnostic, and at other times without all the references, in addition to being a sophisticated figure at work and presenting his vision of the world through his diaries that were part of the fictional work. The research is divided into three sections, the first is theoretic and is concerned with the consciousness of the term and the concept, and the second dealt with patterns of consciousness in terms of the concept of each type and how it appeared in the novel under consideration and in which character was it reflected from its characters. As for the last topic, we dealt with the vision of the world presented by the novelist about the path of his main character (Tawfiq), so that the research finally reaches a set of results, the most important of which is that the characters in the novel in question were neither superficial nor an intellectual construction, and this is what led to the formation of the consciousness of each in a different way from the other.

Abstract Τhis article aims to investigate how students' responses to reading and talking about a fictional novel relate to teachers' ideas about the possibilities of a literary work. A large group (413) of readers aged 10–12 completed questionnaires both before and after reading the Romani author Katarina Taikon's Katitzi (1969/2015), which, in a fast-paced and engaging way touches upon subjects such as vulnerability and racism. Responses from 14 teachers are analysed in relation to these students’ answers. The results show great student engagement, with a clear majority (76%) formulating thoughts about Katitzi's situation and their contemporaries. The teachers, on the other hand, highlight problems they see with the literary work and tend to value reading non-fiction more. Through the discrepancy, the question arises as to whether the students' engagement after reading could be utilised more, so that they develop both as readers and participants in a current social debate. Keywords: teaching literature, children's and youth literature, book talks, Swedish in primary school Resumen Este artículo tiene como objetivo investigar cómo las respuestas de los y las estudiantes al leer y hablar sobre una novela de ficción se relacionan con las ideas de los profesores sobre las posibilidades de una obra literaria. Un gran grupo (413) de lectores de 10 a 12 años completó cuestionarios antes y después de leer Katitzi (1969/2015), de la autora romaní Katarina Taikon, que, de manera rápida y atractiva, aborda temas como la vulnerabilidad y el racismo. Se analizan las respuestas de 14 miembros del profesorado en relación con las respuestas del alumnado. Los resultados muestran un gran compromiso por parte de los y las estudiantes, con una clara mayoría (76%) expresando pensamientos sobre la situación de Katitzi y sus contemporáneos. Por otro lado, el profesorado resalta problemas que percibe en la obra literaria y tiende a valorar más la lectura de no ficción. A través de esta discrepancia, surge la pregunta de si la motivación del alumnado después de la lectura podría ser utilizado de manera más efectiva, para que se desarrollen tanto como lectores como participantes en un debate social actual. Palabras clave: enseñanza de literatura, literatura infantil y juvenil, charlas sobre libros, sueco en la escuela primaria. Resum Aquest article té com a objectiu investigar com les respostes de l’estudiantat en llegir i parlar sobre una novel·la de ficció es relacionen amb les idees del professorat sobre les possibilitats d'una obra literària. Un grup ampli (413) de lectors de 10 a 12 anys va completar qüestionaris abans i després de llegir Katitzi (1969/2015), de l'autora romaní Katarina Taikon, que, d'una manera ràpida i atractiva, aborda temes com la vulnerabilitat i el racisme. Les respostes de 14 membres del professorat s’analitzen en relació amb les respostes d'aquests i aquestes estudiants. Els resultats mostren un gran compromís de l’alumnat, amb una clara majoria (76%) formulant pensaments sobre la situació de Katitzi i els seus contemporanis. El professorat, d'altra banda, destaca problemes que veu en l'obra literària i tendeix a valorar més la lectura de no ficció. A través de la discrepància, sorgeix la pregunta de si la implicació dels i les estudiants després de la lectura podria ser utilitzada més, de manera que es desenvolupen tant com a lectors com a participants en un debat social actual. Paraules clau: ensenyament de literatura, literatura infantil i juvenil, xerrades de llibres, suec a l'escola primària.

Nos anos de 1878 e 1879 foi publicada em forma de folhetim, na Revista Brasileira (Rio de Janeiro), a novela O Patuá, descrita por Walter Spalding como “notável ensaio de ficção sobre usos e costumes gauchescos”. Essa revista foi fundada por Carlos Jansen, Sílvio Romero, Franklin Távora e Machado de Assis, sendo o primeiro deles o autor dessa novela-folhetim. O alemão Carlos Jansen integrou o grupo dos brummers, mercenários contratados pelo imperador brasileiro para lutarem contra Juan Manuel de Rosas e Manuel Oribe, no período de 1851 e 1852. Após os combates, Jansen permaneceu no Rio Grande do Sul como professor, funcionário provincial ligado à imigração e intelectual (jornalista, romancista e tradutor), depois mudando-se para o Rio de Janeiro, onde também lecionou, morrendo em 1889. O intento desse artigo é analisar essa novela, percebendo as representações nela presentes sobre a escravidão e, em especial, sobre os africanos para cá trazidos pela diáspora transatlântica. Percebemos também que essa obra serviu para o autor construir uma autoimagem positiva, a qual nos permite perceber como se estruturava no período a imagem de um intelectual/homem de letras.Palavras-chave: Escravidão. Africanos. Imigração. Literatura.ABSTRACTIn the years 1878 and 1879, the soap opera O Patuá was published in the Brazilian magazine (Rio de Janeiro), the novel O Patuá, described by Walter Spalding as “a remarkable fiction essay on gauchescos uses and customs”. This magazine was founded by Carlos Jansen, Sílvio Romero, Franklin Távora and Machado de Assis, the first of whom was the author of this soap opera. The German Carlos Jansen was part of the group of brummers, mercenaries hired by the Brazilian emperor to fight against Juan Manuel de Rosas and Manuel Oribe, between 1851 and 1852. After the fighting, Jansen remained in Rio Grande do Sul as a teacher, connected provincial official immigration and intellectuals, later moving to Rio de Janeiro, where he died in 1889. The purpose of this article is to analyze this novel, realizing the representations present in it about slavery and, in particular, about the Africans brought here by the diaspora transatlantic. We also realized that this work served for the author to build a positive self-image, which allows us to understand how the image of an intellectual / man of letters was structured in the period.Keywords: Slavery. Africans. Immigration. literature.

Nos anos de 1878 e 1879 foi publicada em forma de folhetim, na Revista Brasileira (Rio de Janeiro), a novela O Patuá, descrita por Walter Spalding como “notável ensaio de ficção sobre usos e costumes gauchescos”. Essa revista foi fundada por Carlos Jansen, Sílvio Romero, Franklin Távora e Machado de Assis, sendo o primeiro deles o autor dessa novela-folhetim. O alemão Carlos Jansen integrou o grupo dos brummers, mercenários contratados pelo imperador brasileiro para lutarem contra Juan Manuel de Rosas e Manuel Oribe, no período de 1851 e 1852. Após os combates, Jansen permaneceu no Rio Grande do Sul como professor, funcionário provincial ligado à imigração e intelectual (jornalista, romancista e tradutor), depois mudando-se para o Rio de Janeiro, onde também lecionou, morrendo em 1889. O intento desse artigo é analisar essa novela, percebendo as representações nela presentes sobre a escravidão e, em especial, sobre os africanos para cá trazidos pela diáspora transatlântica. Percebemos também que essa obra serviu para o autor construir uma autoimagem positiva, a qual nos permite perceber como se estruturava no período a imagem de um intelectual/homem de letras.Palavras-chave: Escravidão. Africanos. Imigração. Literatura.ABSTRACTIn the years 1878 and 1879, the soap opera O Patuá was published in the Brazilian magazine (Rio de Janeiro), the novel O Patuá, described by Walter Spalding as “a remarkable fiction essay on gauchescos uses and customs”. This magazine was founded by Carlos Jansen, Sílvio Romero, Franklin Távora and Machado de Assis, the first of whom was the author of this soap opera. The German Carlos Jansen was part of the group of brummers, mercenaries hired by the Brazilian emperor to fight against Juan Manuel de Rosas and Manuel Oribe, between 1851 and 1852. After the fighting, Jansen remained in Rio Grande do Sul as a teacher, connected provincial official immigration and intellectuals, later moving to Rio de Janeiro, where he died in 1889. The purpose of this article is to analyze this novel, realizing the representations present in it about slavery and, in particular, about the Africans brought here by the diaspora transatlantic. We also realized that this work served for the author to build a positive self-image, which allows us to understand how the image of an intellectual / man of letters was structured in the period.Keywords: Slavery. Africans. Immigration. literature.