Artigos de revistas sobre o tema "Island life – Fiction"

There are no references to creative fiction in Erving Goffman’s founding statement of his sociology of the interaction order, his 1953 Chicago doctoral dissertation ( Communication Conduct in an Island Community). Yet four pages into his first and best-known book, The Presentation of Self in Everyday Life (1959), Goffman cites a ‘novelistic incident’ describing the posturing of Preedy, a ‘vacationing Englishman’ on a Spanish beach. It is introduced in order to articulate the distinction between ‘expressions given’ and ‘expressions given off’ and to indicate their capacity for intentional or unintentional engineering. The page-long passage about Preedy, found in a 1956 collection of William Sansom’s short stories, is often mentioned in reviews and summaries of Goffman’s groundbreaking book. This article describes the types of fiction drawn upon by Goffman and examines the ‘work’ that fictional illustrations distinctively do in his writings. The discussion sheds light not only on why Goffman elected to include fictional illustrative materials in his sociology and why eventually he dropped their use, it also underscores some strengths and limits of the fictional for interactional analysis in sociology.

Elif Shafak's 2021 novel The Island of Missing Trees describes fictional events that occur on the real island of Cyprus during the war between the Greek and the Turkish inhabitants of the island. This story is told from multiple points of view at various points in time in both Cyprus and London, where the characters move to and live following the events of the war and their families’ disagreements with their relationship. What is unique about Shafak's storytelling is her use of a fig tree as a primary narrator of events. While the use of non-human narrators is not a new strategy, most of these occurrences involve animal speakers rather than plants or objects. In delivering a fiction narrative from the point of view of a fig tree, Elif Shafak's The Island of Missing Trees introduces readers to multispecies encounters by providing an example of how arboreal figures communicate and experience history alongside humans in an anthropocentric world, and further encourages prosocial behavior between human and non-human species. Based on Shafak's novel, theories of attentiveness and slow-violence, and studies on the effect of non-human narrators on readers, including these "non-living" narrators in widely accessible pieces of fiction not only informs audiences of the multispecies encounters that occur in everyday life, but also opens more avenues of multispecies conservation.

Trying to put one's career into perspective is like selecting those eight records for the Desert Island; what should one choose? My recollections are more of people than events. A few individuals have had a lasting influence on me, many more have enriched my life, only rarely have I met somebody I would not care to meet again. People of all types have always fascinated me, and this is perhaps why I have greatly enjoyed my time in psychiatry. My career lacked any master plan, things happened, opportunities arose but my path was determined as much by chance as anything else.

“Sakhalin Island” occupies a special place among Chekhov’s creative works, which can be explained first of all by its documentary background and genre peculiarities. It is an undeniable fact but, as the present article shows, it would be wrong to separate “Sakhalin Island” from the writer’s fiction works. On the assumption of the integrity of the creative personality, manifesting itself regardless of the genres the writer works in, the author of the article studies repeated motifs in “Sakhalin Island”. As a result, the book comes close to Chekhov’s fiction works notable for the poetics of repetition. Naturally, repetitions are not so conspicuous in the writer’s long texts in comparison with his short pieces; nevertheless, they cannot but draw attention. Varying, overlapping and interpenetrating, the repeated motifs in “Sakhalin Island” (for example, boredom, bondage, rain, sea, escape/departure from the island, etc.) not only play a compositional role but also unite people’s fortunes, thus becoming an important exponent of Chekhov’s concept of life and a characteristic of generic traits of human nature.

Abstract The notion of sustainable development is one of the most popular concepts of our time. However, it remains controversial and quite problematic, especially for small islands and their communities. These challenges arise in relation to the limited scope of resources which can be used for development, and the difficulty of defining the needs of future generations. Looking at the history of many island jurisdictions, one is confronted with a picture of substantial economic evolution. Island communities have rarely, if ever, been able to foresee or plan their future; frequently, the situation has turned out to be very different from any previously envisaged scenarios. This should not be surprising, since small island destinies are often determined by external variables, over which they have little, if any, control. These variables include colonization, competition over scarce territories, improvements in transportation technologies, the information revolution and natural disasters. Thus, the very idea of sustainable development with respect to small islands is nothing but a charming slogan, an entertaining fiction rather than a reachable target. Of course, islands and their communities can take‘green’ initiatives that are more environmentally friendly; they cannot, however, achieve a state of sustainable development, except with a serious deterioration in the quality of life and off-island connectivity (by air or sea) of their residents.

Abstract This article explores Madeline Miller’s Circe from the perspective of Bakhtin’s concept of the chronotope, the inseparability of space and time in fiction. The article focuses on the chronotopes of the road, the idyll and the threshold in the novel, and how these intersect with its themes of gender and immortality. The island of Aiaia acts as a threshold, transforming all who cross it. Circe’s life on the island, however, is a repetitive idyll; only at the end of the novel does she become a traveller on the road herself rather than just a stop on the way.

Despite the reanimation of critical and biographical interest in Robert Louis Stevenson in recent years, the significance of a vital source of narrative energy and desire in his fiction has remained buried in obscurity. The reanimated corpse plays a central role in The Wrong Box, Stevenson's comic masterpiece of 1889, and also surfaces in other of his fictions including Treasure Island (1883), The Master of Ballantrae (1889), and The Ebb-Tide (1893-94). The desires brought into play by these narratives of reanimation are at once secret and homoerotic in nature, infringing taboos by treating death in a comic light, and by reminding readers of what were considered "unspeakable" sexual practices between men. In its disruption of narrative plot, moreover, the reanimated corpse represents an assault on the nineteenth-century realist aesthetic and has a contaminating effect on the agents of narrative closure in Stevenson's fiction. Despite the attempts to conceal or dispose of the unruly corpse, it continues to evoke disturbing desires that, once brought to life, cannot be "buried" by the narratives' strategies of containment. The corpse is thus associated with the indefinite deferral of narrative closure, and with the hollowness of character in the romance style that Stevenson preferred over literary realism. Through its effects of generic disruption and narrative desire, the reanimated corpse ultimately demonstrates the impossibility of containing Stevenson's work in any of the "boxes" traditionally constructed for the classification of narrative fiction.

Readings of Taiwan's Japanophone colonial-era fiction are typically influenced by politicised interpretations of Japanese rule (1895–1945) on the island and its significance to contemporary Taiwanese identity. Till recently, these discussions often marginalised colonial-era texts by Taiwanese women, initially due to limited translation during Taiwan's period of martial law (1945–1987), and later due to the fragmentary nature of these short stories. This article explores how millennial author Yang Shuangzi (1984-) overcomes the anticipatory politics of reception surrounding colonial-era fiction by adapting a short story by Yang Qianhe (1921–2011) through the lens of ‘Girls’ Love’ (GL), a predominantly online subculture made up of media (fanfiction, manga, fanart) portraying queer relationships between women and girls. By understanding the text as an adaptation, it is possible to explore how contemporary Taiwanese authors read and relate to colonial fiction, breathing new life into such texts through interpretations grounded in contemporary culture. In Yang Shuangzi's case, I argue that she not only emphasises Yang Qianhe's importance to Taiwanese women's fiction through adaptation, but that she also creates space for literary play and creativity. The article focuses on the process of adaptation to develop an argument about literary connection between generations of Taiwanese women, whilst also outlining how online subcultures can revitalise literatures caught in the back-and-forth of nation-state politics by establishing their own practices of language and form.

Dr Sylvester Lambert, an American public health doctor who worked for the International Health Board of the Rockefeller Foundation, created a magic lantern slide presentation to retell the arrest of a sorcerer that he had witnessed in 1925 on the island of Malakula in Vanuatu. In this article, I use creative non-fiction to envision other audiences and narrators of this storied event to present an expanded picture of life for Pacific Islanders at that time. I also reflect on how particular events make for good stories because they are contests about belief and incredulity. Reimagining medical stories of sorcery reminds us that medicine is part of larger contests over the nature of reality. This is an imaginative ethnographic experiment with decolonizing intentions which combines archival research, ethnographic research, colonial images and creative non-fiction. It aspires to untie the images from a single fixed colonial narrative and to revisit the images in ways that are open to multiple interpretations, audiences, and narrators.

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.

Abstract The contribution highlights the overwhelming importance of narrative for human life. It takes its point of departure from a hypothetically negative assumption: the fiction of an anti-utopian island ‘Udiegesia’, whose inhabitants have lost the ability to narrate. A scenario detailing what would presumably happen in such a case leads on to a (positive) survey of the manifold fields in which narrative is in fact used as a cognitive frame to make sense of, provide orientation in, and a ‘fitness training’ for, life and human societies, a survey which is - in part - inspired by Brian Boyd’s propagation of ‘evocriticism’.2 In the concluding section the claim that all human knowledge is “based on stories”3 will receive brief critical attention. It will be argued that such an exclusive stance is as problematical as the idea that the complexities of narrative’s forms and its various functions for human life can be fully explained by evolutionary theory alone.

Life writing — a genre which goes beyond traditional biography, includes both fact and fiction, and is concerned with either entire lives or days-in-the-lives of individuals, communities, objects, or institutions — has always played an important role in Derek Walcott’s work. This body of work reaches from Another Life (1973),Walcott’s autobiography in verse, to his last play O Starry Starry Night (2014), where he re-imagines Paul Gauguin and Vincent Van Gogh’s (often tempestuous) cohabitation in the so-called “Yellow House” in 1888 Arles. In Tiepolo’s Hound (2000), Walcott’s life rhymes with that of the Impressionist painter Jacob Camille Pissarro, who was born in the Caribbean island of St Thomas in 1830. In this work, biographical and autobiographical impulses, fact and fiction, are productively combined, as “creation” (what “might have happened”) shapes Walcott’s life writing as much as “recreation” (what “actually” happened). Walcott’s Pissarro is an individual immersed in a set of historical networks. He is also a figure at the centre of a web of imagined relations which illuminate the predicament of present and past artists in the Caribbean region and the ways in which they articulate their vision vis-à-vis the metropolitan centre, their relationship with their social and natural environment, and their individual and collective identity. Tiepolo’s Hound is enriched by the inclusion of 26 of Walcott’s own paintings which engage in conversation with the poet’s words and add complexity to his meditation on the nature and purpose of (re)writing and (re)creating lives. Extending the catholicity of life writing to animals, in this case dogs and, in particular, mongrels, Tiepolo’s Hound also entails a careful, if counterintuitive, evaluation of anonymity.

In the work of Georges Perec, the novel W or the Memory of Childhood (1975) is an attempt, halfway between autobiography and detective novel, to reveal the greatest enigma of the existence of the writer, namely the tragic fate of his mother who was deported to Auschwitz from where she would never return. In order to be able to outline the ignominy of the concentration camps, Perec refers to a story that he himself had invented during his childhood: one on the island of W. Based on the Olympic ideal, its residents are athletes who must endure a series of inhuman challenges. The monstrous dystopia of the Island of W thus echoes the historical facts of the Second World War, which directly affected Perec, although he did not witness them in person. In the perspective of a study of the island of W, the concept of heterotopia forged by Michel Foucault will set the theoretical perspective for this work. This article will also analyze how the places – both the spaces of the everyday life and heterotopias, other spaces which very often play an allegorical role (Ellis Island, to which Perec dedicated a book, is also an example), as the island of W does – occupy a prominent place in Perec’s works. This stresses out the metonymic power generated by the creation of spaces, whether entirely invented or borrowed from reality, since they always tell something other than merely showcase themselves and install a mirror game between fiction and reality.

The debut book of Malayalam author Sheela Tomy, Valli: A Novel, was shortlisted for the JCB Prize for Literature in 2022 and is a contribution to the expanding body of Indian eco-fiction. Jayasree Kalathil translated the book into English. Valli is similar to other eco-fictional works from the South-Western region of India by authors like Na D'Souza's Dweepa: Island (2013), Pundalik Naik's The Upheaval (2002), and Akkineni Kutumbarao's Softly Dies a Lake (2020) in that it treats the land as a living entity throbbing with life. The hardships of rural communities, steeped in tradition, mythology, and unwritten norms governing how they should handle the environment as they attempt to navigate the hurdles of modernization, are central to all of these stories. However, Tomy takes her poetic and artistic descriptions of the landscape a step further by utilising the literary device of pathetic fallacy throughout the book. The author alludes to the Wayanadan people's spiritual interconnectedness to and dependency on the land by foregrounding the hamlet of Kalluvayal, the river Kabani, and the flora and fauna of Wayanad before she speaks about its residents and their worries.

Irish crime fiction has largely been a contemporary phenomenon, but it has already shown itself to have highly various preoccupations and influences, including Irish gothic modes as well as the work of international crime writers like Patricia Highsmith and Ross Macdonald. Macdonald’s Lew Archer novels, in particular, are marked by a thematic obsession with ruined and ruinous families, with children cast adrift on seas of generational corruption. Such deep connections between gothic modes, family secrets, and crime fiction offer a cultural foundation that has served Irish crime and mystery writers well. Their narratives weave together local elements with the kinds of genre writing that have, until recent decades, often been seen as importations, as mere pieces in the flotsam and jetsam of transatlantic culture, or as actively contributing to the destabilization of life on the island. Although this essay examines the sometimes spectacular gothic elements in novels by Tana French, John Connolly, and Stuart Neville, the focus is rather on versions of Irish family gothic that surface in the writing of Liz Nugent, Andrea Carter, Declan Hughes, and others. Nugent, for example, fuses a penchant for Highsmithian sociopathic narrator-protagonists with her own sharp eye for familial bloodletting, while Hughes traces generations of corruption through his narrator’s haunting sensations of dislocation and uncanny unease in a Dublin where he has become at once an insider and an outsider. Through their use of such elements, at once intimately specific and readily adaptable, Irish crime writers have both animated their genre and further affirmed the vitality of Irish gothic’s fluid legacy.

La invención de Morel reflect on how the use of technologies could be fascinating and dangerous at the same time; and the way the island seems to be a space of freedom while it is actually a place of prison and death. La invención de Morel presents a utopian situation that transforms into a dystopia. Characters, especially the narrator, project their desires along with the holograms, but they are deceived without realizing about their loss of reality. The novel uses phantasy and science fiction resources to reflect about the way humans self-imprison. This is studied by analogy to the effects of technologies in today's society. In this sense, the novel by Adolfo Bioy Casares is about a menace due to the human preference of imaginary life over real one.

This article is created out of the architectural space and narratives of village life. The narratives concern the interiority of life in Kampos, a farming village on the Greek Cycladic island of Tinos, on the day when the village celebrates the Holy Trinity, its patron saint. The village area on this festive day is depicted in the movement of the families from their houses to the church, the procession from the patron saint’s church to a smaller church through the main village street, and, finally, in the movement of the villagers back to speci!c houses. Through a series of spatial and social layers, the meaning of the communal table on the day of the festival, where food is shared, is reached. A series of negotiations create a different space, where the public, private and communal blend and reveal different layers of “interiority” through which this community is bounded and connected. In this article, I follow the revelation and discovery of truth through fiction, story or myth, as argued by the French philosopher Paul Ricoeur.

True to the words of Michael J. Fox, Family is an important place to share love and care among the relations. Family relationships help the child to develop communication skills and builds trust and respect. The keys to developing healthy family relationships include making relationships a priority, communicating effectively and providing support for each other. Families vary in the expectations they hold regarding children’s behavior and this leads to differences in family relationships and communication styles. In the novel The Lowland, Jhumpa Lahiri portrays the life of two inseparable brothers Subash and Udayan and how their life gets changed when they grow up. Their ideologies are changed and as a result, Udayan becomes a naxalite and Subash takes up further studies at Rhode Island much against his brother’s wish. The novel depicts the relationships between the two brothers Subash and Udayan and between Udayan’s wife Gauri and Subash and between Gauri’s daughter Bella and Subash. Thus it is a sort of complicated family relationship that Lahiri portrays in The Lowland. The Lowland was a nominee for the Man Booker Prize and the National Book award for Fiction.

The article analyzes the image of Buenos Aires in the narrative of Ana María Shua, an Argentine writer of Polish Jewish descent. Urban space plays an important role in her prose described often as apocalyptic or dystopian. Through a historiographical metafiction, the author rewrites the memory of the ancestors in El libro de los recuerdos (2007), a novel that presents the life of Jewish immigrants in the capital of Argentina, divided into neighborhoods marked by their ethnicity. Eroticism and the use of the female body are, on the other hand, the topics that dominate in the author’s collection of micro-stories titled Casa de geishas (2009), where the brothel is described as a singular ghetto, rooted in the city panorama. Finally, the novel La muerte como efecto secundario offers a dystopic description of a future of a ghettoized city, where compulsory geriatric ghettos become a reality. The article, based on the analysis of the aforementioned works, presents a critical look at the use of the concept of “ghetto” or “urban island” in the construction of the narrative structure and space in Ana María Shua’s fiction.

As readers of British newspapers know very well, the Channel Tunnel has a long history and a potent mythology. The mere mention of the Tunnel summons associations extending from the technological and ecological to the patriotic and erotic. This paper takes up the historical and contemporary meanings of the Channel Tunnel and situates them in the context of its perceived `social threat'. Drawing on a variety of materials, including newspaper articles, cartoons, plays, fiction and museum displays, the paper deals with four types of ominous fears of the Tunnel: fear of (subterranean) invasion; fear of the end of the island race and splendid isolation; fear of the destruction of the countryside and the country life in the `Garden of England'; and fear of sudden, violent death caused by rabies, fire, flooding or terrorist attack. Laden with concerns about the Tunnel, the author (like members of the British public have done) takes a trip to the Eurotunnel Exhibition Centre in Folkestone, England, to hear Eurotunnel's arguments about the Tunnel. In all, Eurotunnel exhibitors either ignore or recast concerns about the Channel Tunnel, leaving the visitor with the impression that, while the Channel Tunnel was an engineering feat unprecedented in history, a trip through the Tunnel will be a non-event.

What is an apocalypse anyways? Most consider it the end of the world, but as April Anson (2017) points out the word ‘apocalypse’ is derived from the Greek term “apokalypsis” meaning “something revealed or uncovered”. But what if apocalypse accounted for these histories and revealed something more than “an end”? What if the apocalypse signalled hope that there will be a future? By drawing on Indigenous knowledge, Skawennati’s machinima She Falls for Ages (2017) re-frames apocalypse as the beginning of time, rejecting the narratives in science fiction or climate-fiction (cli-fi) of apocalypse as impending doom. Skawennati is a Mohawk futurist based in Tiohtiá:ke/Montreal, best known for her machinima creations—movies typically produced using video-game software—and digital media works that re-interpret and connect historical events to the present and future. She Falls for Ages (2017), is a re-telling of the Haudenosaunee creation story, where Sky Woman falls from Sky World through a hole in the sky and lands on a turtle’s back, both eventually becoming Turtle Island, North America as we know it today. Creation stories like the one of Sky Woman can often take days to tell, but Skawennati uses the Second-life video game platform to show the futurist place where Sky Woman falls from as one that is dying or, in many ways, experiencing apocalypse. Skawennati’s version of the apocalypse is stark difference from cli-fis such as The Day After Tomorrow (2002), that appropriate Judeo-Christian biblical narratives of the apocalypse and erases the existence of BIPOC perspectives. I consider Skawennati’s machinima as a reconceptualization of apocalypse that moves away from narratives that insist on White-settler survival and settler-colonial ideas about apocalypse and the anthropocene. As the author of this text is a woman of color and settler scholar, she foregrounds Indigenous scholars’ research about the anthropocene to analyze this work.

This paper seeks to introduce new data into the discussion of William Shakespeare’s portrayal of Jewish people through intertextual and close reading of Shakespeare’s The Tempest and The Merchant of Venice, sections from the Geneva Bible, and primary documents discussing Anglo-Jewish life in the Elizabethan era. Shakespeare’s relationship to and purported views of Jewish people have been scrutinized for centuries. However, almost all conclusions put forth by scholars about Shakespeare’s ties to Elizabethan Jewish communities and anti-Semitism have been drawn from one work, The Merchant of Venice. Merchant contains Shakespeare’s only explicitly Jewish characters, Shylock and his daughter, Jessica, although she happily converts to Christianity. In this paper, I propose that Shakespeare has an implicitly Jewish character lurking in The Tempest: Caliban, the play’s main antagonist, a native to the island on which the play is set, and Prospero and Miranda’s slave. I will support the interpretation of Caliban as a Jewish-coded figure through cross-reading The Tempest with The Merchant of Venice, sections of the Geneva Bible, and non-fiction testimonials from English residents during and before the Elizabethan era. Using both these plays alongside other scholarly and historical texts, I will bring cultural and historical context to these portrayals in order to explore a deeper understanding of the complicated and nuanced depictions of Jewish people in Shakespeare’s work.

Anne of Green Gables by Lucy Maud Montgomery is a Canadian Classic children’s fiction published in 1908. It revolves around an eleven-year-old orphan girl named Anne Shirley who is vibrant, witty, has a vivid imagination and a positive outlook on life. This coming-of-age story begins as Anne Shirley arrives at the Green Gables house on Prince Edward Island, Canada, to assist the upper-middle-aged siblings Marilla and Gilbert Cuthbert on their farm. The Cuthbert siblings were disappointed to see a girl as they were expecting to foster a boy to assist with the field labor. Anne Shirley landed in Green Gables as a mishap but won everyone over time with her spirited personality and charming nature. In the predominant literary narrative, children’s literature is under-represented and forgotten as childhood, after all is seen as a state from which we grow away. But children’s literature provokes an intense response and engagement amongst its readers through its congruence. A coming-of-age story in children’s literature focuses on the psychological and moral growth of a protagonist from youth to adulthood and confounds the audience to experience the surrounding of the protagonist to impact the readers’ thoughts and attain self-growth. In light of the above information, this paper aims to substantiate Anne of Green Gables by Lucy Maud Montgomery as a coming-of-age novel to understand the impact that children’s literature has on its audience through various elements such as culture, identity, positivity, friendship, love, growth, and imagination.

Science fiction literature of the 1920s connected with the topic of heat rays is studied. Begun in the novel of Herbert George Wells “The War of the Worlds” (1897) and in the novel of A.F. Ossendowski “Brig “Horror” (1913), in the decade after October Revolution it became more widely distributed. In each work heat rays got its name: “death rays” in the novel of H. Dominik (1921), “violet rays” in the novel of V.P. Kataev “The Island of Erendorf” (1924), “red ray”, or “life ray” in the novel of M.A. Bulgakov “The Fatal Eggs” (1924), heat rays in the novel of A.N. Tolstoy “The Garin Death Ray” (1926–1927), “orange ray” in the novel of A.F. Paley “Gulfstream” (1927). In all literary works, including pre-revolutionary ones (except for the last one – “Gulfstream”), the heat ray played an extremely negative role in the development of humanity and civilization. The Martians were the first to use weapons to destroy humanity, then the ray fell into the hands of brilliant scientists. The ray, created by brilliant scientists, most often end up in the hands of self-interested and obsessed people, and Russian writers brought a serious doubt to the scientistic aspirations of the human mind. This theme ran parallel to the road of modern re-search and discoveries in the field of science and technology: in the world laser weapons were be-ing developed as weapons of mass destruction for the future wars of a planetary scale. In the So-viet press, it was “baptized” as the “diabolic rays”, and most important – they tried to implement into the field of social transformations in society, which brought the October Revolution, plans on establishing a socialist system on the entire planet. The central place is given for the novel M.A. Bulgakov’s “The Fatal Eggs”, which absorbed not only the achievements of modern science and technology, not just fantasies of writers – predecessors and contemporaries, but also allusions on the occult motifs in literature and culture: black magic of doctor Faust from the drama-miracle play of J.W. Goethe “Faust”, spells from the “Egyptian Book of the Dead”, old Russian ritual “Troyetsyplyatnitsa”, the egg motif “ad ovo”. Numerous occult details in the story tell about the mechanism of the “red ray”.

In his satirical novel, 'Father Malachy's Miracle' (1931), Bruce Marshall (24 June 1899–18 June 1987), the Edinburgh-born author of over forty books, presents the reader with an elderly Benedictine monk, Fr Malachy Murdoch, who has been sent from his monastery in the Scottish Highlands to improve the singing and the manners on the altar of St Margaret's Church in Edinburgh – like many of the episodes in the novel, Marshall's characters, thinly-disguised, are based on 'real' people – in spite of the author's protestations to the contrary.<br/> After a chance but testy meeting with a dapper Episcopalian clergyman who challenges the monk to prove that miracles can really happen. Malachy impulsively jettisons his brief and accepts the challenge, deciding to petition God to move an adjacent dancehall of ill repute (along with its clientele) onto the windy summit of the Bass Rock, a volcanic island some twenty miles away in East Lothian. Inexplicably, the displacement immediately becomes a tourist attraction – for which Malachy is roundly admonished by a cardinal newly-arrived from Rome.<br/> He begins to grasp the wider implications of what he has done. He regrets his hasty reaction and implores God to restore the seedy dancehall to its former site beside the Church of Saint Margaret of Scotland – he is left with an abiding sense of guilt and failure. Interviewed in Rome by the literary critic Luigi Silori in 1959, Marshall confided that 'the author should not preach. This is why the clergy generally does not understand me very well – because they expect me to preach, and I don't want to do this.'<br/> So why has this comic masterpiece been almost forgotten? Recently, new research into 'Father Malachy's Miracle' has revealed just how closely Marshall's deft fictionalisation imitated real life – the thin line between fact and Marshall's fiction.

Politics (facts) and literature (fiction) are two things that both exist and are needed by society. The two are also often linked together. The specific relationship between politics understood as a way of doing things and literature understood as a practical form of writing. This study uses a qualitative descriptive design to trace the re-interpretation of political facts in modern Indonesian novels written during the post-reform era. The research data sources are post-reform novels published in modern Indonesian literature that reinterpret political facts. These political facts can be found through the thematic aspects, the mindset and actions of the characters, the arrangement of the plot (conflict), and descriptions of the story setting which are integral to the whole fictional story. The determination of novels to be used as data sources is based on the following considerations: (a) novels that re-interpret political facts related to the historical events of the 30 September 1965 Movement, (b) novels published during the post-reform era (2000s and above), and (c) novels written by female authors are of a generation that did not directly experience the events of the 30 September 1965 Movement. The results of the study are as follows. First, the political facts expressed in the novel, namely (a) the kidnapping and murder of seven generals, (b) the Cakrabirawa elite troops, (c) the kidnapping and murder of people who were considered to be part of the Indonesian Communist Party, (d) detention on the island Buru, (e) granting status as a descendant of the PKI, and (f) abolishing citizenship status for students studying in certain countries deemed to be affiliated with the communist party. Second, the reinterpretation of historical facts in the novel, namely (a) related to the journey of the past, (b) part of the journey of Indonesian history, (c) understanding from the human side, and (d) choices and awareness of the journey of life in the future. It is hoped that the results of the research can be implemented in teaching literature in schools and the wider community through scientific forums in an effort to socialize the possibility of using modern literary works as a source of historical information to support efforts to understand Indonesian history. If used critically and combined with other sources, novels that actualize and reinterpret political facts can be used as a source of knowledge and understanding of the nation's history. Keywords: political facts, reinterpretation, G30S/PKI movement, modern Indonesian novels

This article employs the lens of Afrofuturism to address the Underground Railroad, detailing what imagination, tact, and technology, it took for fugitive Blacks to flee to the “outer spaces of slavery.” Black enslavement was as terrifying as any exotic fictional tale, but it happened to real humans alienated in the “peculiar institution.” Escaping slavery brought dreams to life, and at times must have felt like “magical realism,” or an out-of-body experience, and the American North, Canada, Mexico, Africa, Europe, and free Caribbean islands were otherworldly and science fiction-like, in contrast to where Black fugitives ascended. This article will address the intersections of race, technology, and liberation, by retroactively applying a modern concept to historical moments.

Between 1946 and 1975, dozens of islands and outports in the Canadian province of Newfoundland and Labrador were abandoned as part of a government resettlement policy. Families and communities were torn apart, and a culture and way of life that revolved around the fishery changed irrevocably. The practice, which continues to this day, has been well documented, particularly by artists and writers. Michael Crummey’s 2014 novel Sweetland is a recent iteration. The relationship between humans and place is complex: on an island, with compressed space and a very real boundary that is the ocean, emotional attachments to one’s place are often heightened and distilled. What happens when a person is displaced from his or her island; when bonds of attachment are severed and one’s mirrored double is destroyed? Sweetland offers a fictional lens through which we see an example of a mirrored relationship between an island protagonist and his island setting. Exploring themes of attachment to place, and what Barry Lopez calls a “storied” or “reciprocal” relationship with the land, this paper examines what happens to a man when confronted with leaving an island he knows as deeply as his own body and soul; and how the island reacts.

-Michael D. Olien, Edmund T. Gordon, Disparate Diasporas: Identity and politics in an African-Nicaraguan community.Austin: University of Texas Press, 1998. xiv + 330 pp.-Donald Cosentino, Margarite Fernández Olmos ,Sacred possessions: Vodou, Santería, Obeah, and the Caribbean. New Brunswick NJ: Rutgers University Press, 1997. viii + 312 pp., Lizabeth Paravisini-Gebert (eds)-John P. Homiak, Lorna McDaniel, The big drum ritual of Carriacou: Praisesongs in rememory of flight. Gainesville: University Press of Florida, 1998. xiv + 198 pp.-Julian Gerstin, Gerdès Fleurant, Dancing spirits: Rhythms and rituals of Haitian Vodun, the Rada Rite. Westport CT: Greenwood, 1996. xvi + 240 pp.-Rose-Marie Chierici, Alex Stepick, Pride against Prejudice: Haitians in the United States. Boston: Allyn & Bacon, 1998. x + 134 pp.-Rose-Marie Chierici, Flore Zéphir, Haitian immigrants in Black America: A sociological and sociolinguistic portrait. Westport CT: Bergin & Garvey, 1996. xvi + 180 pp.-Luis Martínez-Fernández, Rosalie Schwartz, Pleasure Island: Tourism and temptation in Cuba. Lincoln: University of Nebraska Press, 1997. xxiv + 239 pp.-Jorge L. Giovannetti, My footsteps in Baraguá. Script and direction by Gloria Rolando. VHS, 53 minutes. Havana: Mundo Latino, 1996.-Gert Oostindie, Mona Rosendahl, Inside the revolution: Everyday life in socialist Cuba. Ithaca: Cornell University Press, 1997. x + 194 pp.-Frank Argote-Freyre, Lisa Brock ,Between race and empire: African-Americans and Cubans before the Cuban revolution. Philadelphia: Temple University Press, 1998. xii + 298 pp., Digna Castañeda Fuertes (eds)-José E. Cruz, Frances Negrón-Muntaner ,Puerto Rican Jam: Rethinking colonialism and nationalism. Minneapolis: University of Minnesota Press, 1997. x + 303 pp., Ramón Grosfoguel (eds)-Helen I. Safa, Félix V. Matos Rodríguez ,Puerto Rican Women's history: New perspectives. Armonk NY: M.E. Sharpe, 1998. x + 262 pp., Linda C. Delgado (eds)-Arlene Torres, Jean P. Peterman, Telling their stories: Puerto Rican Women and abortion. Boulder CO: Westview Press, 1996. ix + 112 pp.-Trevor W. Purcell, Philip Sherlock ,The story of the Jamaican People. Kingston: Ian Randle; Princeton: Markus Wiener, 1998. xii + 434 pp., Hazel Bennett (eds)-Howard Fergus, Donald Harman Akenson, If the Irish ran the world: Montserrat, 1630-1730. Liverpool: Liverpool University Press, 1997. xii + 273 pp.-John S. Brierley, Lawrence S. Grossman, The political ecology of bananas: Contract farming, peasants, and agrarian change in the Eastern Caribbean. Chapel Hill: University of North Carolina Press, 1998. xx + 268 pp.-Mindie Lazarus-Black, Jeannine M. Purdy, Common law and colonised peoples: Studies in Trinidad and Western Australia. Aldershot, UK: Ashgate Dartmouth, 1997. xii + 309.-Stephen Slemon, Barbara Lalla, Defining Jamaican fiction: Marronage and the discourse of survival. Tuscaloosa: University of Alabama Press, 1996. xi + 224 pp.-Stephen Slemon, Renu Juneja, Caribbean transactions: West Indian culture in literature.-Sue N. Greene, Richard F. Patteson, Caribbean Passages: A critical perspective on new fiction from the West Indies. Boulder CO: Lynne Rienner Publishers, 1998. ix + 187 pp.-Harold Munneke, Ivelaw L. Griffith ,Democracy and human rights in the Caribbean. Boulder CO: Westview Press, 1997. vii + 278 pp., Betty N. Sedoc-Dahlberg (eds)-Francisco E. Thoumi, Ivelaw Lloyd Griffith, Drugs and security in the Caribbean: Sovereignty under seige. University Park: Penn State University Press, 1997. xx + 295 pp.-Michiel Baud, Eric Paul Roorda, The dictator next door: The good neighbor policy and the Trujillo regime in the Dominican republic, 1930-1945. Durham NC: Duke University Press, 1998. xii + 337 pp.-Peter Mason, Wim Klooster, The Dutch in the Americas 1600-1800. Providence RI: The John Carter Brown Library, 1997. xviii + 101 pp.-David R. Watters, Aad H. Versteeg ,The archaeology of Aruba: The Tanki Flip site. Oranjestad; Archaeological Museum Aruba, 1997. 518 pp., Stéphen Rostain (eds)

For the 8th Asia Pacific Triennial of Contemporary Art (apt) (2015–16), Sydney-based artists Justin Shoulder and Bhenji Ra collaborated to present Ex Nilalang, a series of filmic and live portraits exploring Philippine mythology and marginalized identities. The artists’ shared Filipino ancestry, attachments to the Filipino diasporic community, and investigations into “Philippine-ness” offer obvious cultural connections to the “Asia Pacific” concerns of the apt. However, their aesthetic interests in inhabiting fictional spaces marked by the “fantastic” and the “monstrous”—alongside the lived reality of their critical queer positions and life politics—complicate any straightforward identification. If the Philippine archipelago and island continent of Australia are intersecting cultural contexts for their art, the artists’ queering of identity in art and life emphasizes a range of cultural orientations informing subjectivities, always under negotiation and transformation, and at once both the product of and in excess of these (island) territories.

The Atlantic World, 1450-2000, edited by Toyin Falola & Kevin D. Roberts (reviewed by Aaron Spencer Fogleman) The Slave Ship: A Human History, by Marcus Rediker (reviewed by Justin Roberts) Extending the Frontiers: Essays on the New Transatlantic Slave Trade Database, edited by David Eltis & David Richardson (reviewed by Joseph C. Miller) "New Negroes from Africa": Slave Trade Abolition and Free African Settlement in the Nineteenth-Century Caribbean, by Rosanne Marion Adderley (reviewed by Nicolette Bethel) Atlantic Diasporas: Jews, Conversos, and Crypto-Jews in the Age of Mercantilism, 1500-1800, edited by Richard L. Kagan & Philip D. Morgan (reviewed by Jonathan Schorsch) Brother’s Keeper: The United States, Race, and Empire in the British Caribbean, 1937-1962, by Jason C. Parker (reviewed by Charlie Whitham) Labour and the Multiracial Project in the Caribbean: Its History and Promise, by Sara Abraham (reviewed by Douglas Midgett) Envisioning Caribbean Futures: Jamaican Perspectives, by Brian Meeks (reviewed by Gina Athena Ulysse) Archibald Monteath: Igbo, Jamaican, Moravian, by Maureen Warner-Lewis (reviewed by Jon Sensbach) Left of Karl Marx: The Political Life of Black Communist Claudia Jones, by Carole Boyce Davies (reviewed by Linden Lewis) Displacements and Transformations in Caribbean Cultures, edited by Lizabeth Paravisini-Gebert & Ivette Romero-Cesareo (reviewed by Bill Maurer) Caribbean Migration to Western Europe and the United States: Essays on Incorporation, Identity, and Citizenship, edited by Margarita Cervantes-Rodríguez, Ramón Grosfoguel & Eric Mielants (reviewed by Gert Oostindie) Home Cooking in the Global Village: Caribbean Food from Buccaneers to Ecotourists, by Richard Wilk (reviewed by William H. Fisher) Dead Man in Paradise: Unraveling a Murder from a Time of Revolution, by J.B. MacKinnon (reviewed by Edward Paulino) Tropical Zion: General Trujillo, FDR, and the Jews of Sosúa, by Allen Wells (reviewed by Michael R. Hall) Downtown Ladies: Informal Commercial Importers, a Haitian Anthropologist, and Self-Making in Jamaica, by Gina A. Ulysse (reviewed by Jean Besson) Une ethnologue à Port-au-Prince: Question de couleur et luttes pour le classement socio-racial dans la capitale haïtienne, by Natacha Giafferi-Dombre (reviewed by Catherine Benoît) Haitian Vodou: Spirit, Myth, and Reality, edited by Patrick Bellegarde-Smith & Claudine Michel (reviewed by Susan Kwosek) Cuba: Religion, Social Capital, and Development, by Adrian H. Hearn (reviewed by Nadine Fernandez) "Mek Some Noise": Gospel Music and the Ethics of Style in Trinidad, by Timothy Rommen (reviewed by Daniel A. Segal)Routes and Roots: Navigating Caribbean and Pacific Island Literatures, by Elizabeth M. DeLoughrey (reviewed by Anthony Carrigan) Claude McKay, Code Name Sasha: Queer Black Marxism and the Harlem Renaissance, by Gary Edward Holcomb (reviewed by Brent Hayes Edwards) The Sense of Community in French Caribbean Fiction, by Celia Britton (reviewed by J. Michael Dash) Imaging the Chinese in Cuban Literature and Culture, by Ignacio López-Calvo (reviewed by Stephen Wilkinson) Pre-Columbian Jamaica, by P. Allsworth-Jones (reviewed by William F. Keegan) Underwater and Maritime Archaeology in Latin America and the Caribbean, edited by Margaret E. Leshikar-Denton & Pilar Luna Erreguerena (reviewed by Erika Laanela)

ABSTRACT This article presents previous attempts to map Utopia, a fictional island in the book Utopia by Thomas More, and proposes another possibility, based on the assumption that Utopia is an enclosed garden on an artificial island that is not flat, but has piedmont slopes of 2.5:1. Our mapping experiment is founded on the Renaissance analogy between the domestication of wild nature, and the civilization of the human beings in More’s enclosed garden; and on the anecdotal similarities between the Inca Empire and Utopia. This approach is not only consistent with the island’s dimensional specifications, which have hampered previous mapping attempts due to their mathematical incompatibility, but it also addresses the educative capacity of utopian life not considered by previous mapping efforts. Utopia, as a result, is to be understood as a series of performative spatial arrangements where the physical and geographical specifications would inform the vernacular life of its inhabitants in the direction of self-enhancement.

Trilogy novel, Rara Mendut is one of the historical evident in fictional-historical novel which reveals reality in fictional expression. Rara Mendut tells the main character, woman with strong and struggle oriented in gaining her goals. The struggle and principle of life dominated the story through its episodes compiling by the author, Y.B. Mangunwijaya. This research aims to dig up the principle of life, condition, and belief of people in Mataram Islam through the presentation of main character, Rara Mendut, Genduk Duku, and Lusi Lindri. Sociological approach and theory of sociology are used as theoretical framework to result the goal of the research. The result shows that in people of Mataram Islam had belief and perfoemed islam rules as the religion spred by Wali in Java island. The attitude and characters of Rara Mendut shows the values of Islamic teaching in the background of Matara Islam in novel Rara Mendut.

Which punishment would you pick? In this work of philosophical short story fiction, the narrator lives in a society with an extreme form of environmentalism. Society has decided that people should live in archology islands and that the area between the islands should be left as pristine, undisturbed nature. City residents may only pass between the islands of civilization, and through the forest separated them, in groups of seven, with a guide, one time per year. And this is the problem. The narrator’s sister suffers from depression and, even though he has already made the crossing once this year, he attempts an illegal crossing to check on, and support her. He is caught and made to choose between the approved forms of punishment that include, (1) induced sleep, (2) extra work duty, (3) solitary confinement, (4) torture, or (5) limited privileges for the remainder of his life. He chooses solitary confinement and it nearly drives him crazy, but the greater punishment is knowing his sister is alone, suffering through her own depression.

ABSTRACT Utopias in Africa is an emerging academic field. While we are witnessing an increasing number of fictional and ideological utopias, little attention is paid to lived utopias. The Green Camp Gallery Project is such a lived utopia, which predominantly strives for realizing desired future imaginations in daily practices. Localized in the urban context of Durban (South Africa), in a derelict house in the industrial area, the Green Camp strives for a “simple post-growth life,” which is closely related to nature and the philosophy of Ubuntu. In so doing, the Green Camp responds to the overlapping crisis of urbanity and offers an alternative future aspiration. The Green Camp is not perfect and it is not able to solve the deep problems of South African society, but it offers an “island” of hope and imagination in a challenging urban environment. At the same time the lived utopia reveals the agency of the urban marginalized and contradicts widespread assumptions concerning environmentalism. Based on a qualitative study, the article takes an unusual perspective by analyzing the imagination of lived utopia in an emerging utopian hotspot—Africa.

AbstractThis paper analyzes how the "new" genre of Utopia (nominally invented by Thomas More in the sixteenth century) historicizes in a way that is not, strictly speaking, tied to history. More builds his imaginary world using details culled from life in sixteenth-century England, and Utopia—a fictional island society—is itself a commentary on the values and politics of More's society. This dual focus on the real and the ideal explains why this prosaic genre has intrigued so many commentators, notably Fredric Jameson, who (I argue) has written repeatedly about Utopia as a way to think through the unresolved implications of his own injunction to historicize. Working out of a commitment to historical materialism, Jameson has found it difficult to articulate hope for an alternative future that is itself appropriately historicized and not naively utopian. Analyzing More and Jameson in tandem thereby illuminates the theoretical dilemmas involved in critiquing history.

Summary The present contribution gives an overview of the prose by the Serbian writer Dragoslav Mihailović (1930) from the early skaz narratives to the documentary work Goli otok. This opus shows, as a whole, the following features: Mihailović tells whole life stories, which put more focus on action than on psychological description. Most of the stories are dominated by a subjective point of view and are marked linguistically (dialects, sociolects, vigorous colloquiality). Mihailović’s heroes are mostly on the social fringe, yet the view of these marginalized people is less socially critical than humanistic and individualistic. Most of the fictional characters are based on actual people, whom the writer got to know at close range in the course of his odyssey – the author has become an orphan at a young age and was put into prison on Goli otok island when he was barely 20 years old.

This research discussed about schizophrenia symptoms in Teddy alias Andrew Laedis that was acute and dangerous and also discussed the psychodrama treatment for Andrew. The main character is described to have a dangerous illness which is schizophrenia due to get from his traumatic events in world of war. Some of traumatic event that Andrew is experienced actually like when Andrew killed hundred soldier during the war in Dachau, his guilt because he did not bring his wife, Dolores to psychiatrists then unpredictable his wife killed her three children and drowning her child in a pond and regret for the rest of his life who was forced to kill his beloved wife until die and he finally lost all his family. Andrew cannot escape from the reality and without unconsciously he became experiencing mental disorder. The fictional story written by Dennis Lehane (2003.This novel was using the theory of psychoanalysis approach by Sigmund Freud. By using the concept of Sigmund's theory this research examined the symptoms of acute schizophrenia in Teddy alias Andrew's character which showed that his id is more dominant than his ego and the superego did not almost non-existent. Andrew points out three types of self defense mechanisms, namely, denial projections, regression and displacement. Meanwhile, the process of psychiatric recovery treatment by Dr. Cawley is used a psychodrama.

This paper focuses on the representation of “Paradise” by Mizuki Shigeru, and analyzes his essays and manga which he wrote about his friendship with the Tolai people. In the Asian-Pacific War, Mizuki was dispatched as a soldier in Rabaul, Papua New Guinea. There, he struck up a friendship with Topetoro and his family who were island inhabitants called the Tolai people. After the war ended Mizuki returned to Japan then revisited Rabaul in 1971 where their friendship resumed. Mizuki wrote about the Tolai peoples’ life as a “Paradise” many times in his essays and manga after meeting them again. First, this paper examines Mizuki’s work where he wrote about Topetoro’s life as a “Paradise”, the primary target of which was readers who hadn’t experienced the Asian-pacific war. Next, this paper analyzes the changing narrative episodes about Topetoro in Mizuki’s essays, and argues that this change was affected by Topetoro’s death. Finally, this paper examines Mizuki’s fictional representation of “Paradise” in the Manga <i>Yumesaki Annai Neko</i> after Topetoro’s death. There were many Japanese people who revisited war zones after the 1970s, but Mizuki’s purpose of meeting local inhabitants again was not common. This paper argues that significance of Mizuki’s special experiences documented in his essays and Manga.

Fr. Lucio Peña Gutierrez, O.P. may be considered as having contributed significantly in the field of studies in the Ecclesiastical History of the Philippines and Philippine history in general. As a dedicated scholar, he campaigned for a more fair and objective view of the Philippine History. His studies tried to dispel a number of myths in the way the Spaniards carried out the evangelization and conquest of the Philippine Islands. He has shown that the experience of the Philippines is unique and the transformation of such scattered group of islands into a Christian nation could be considered one great success story for the Catholic Church. Anyone who would read Philippine history has to keep in mind Christian spirit that imbued the missionaries and secular rulers from Spain. To say, for instance, that the friars were the ones who destroyed the indigenous culture of the Filipinos and prior to their arrival was bliss in these Islands is anachronistic, ideology based and disprovable by evidences and documents. It is actually faith that preserved the Filipino culture and saved its people. His book on the life and works of Domingo de Salazar, the first bishop of the Philippines, is a tell tale of how the Spaniards who came into contact with the natives, labored meticulously to make their affair in the Philippines humane and true to the spirit of the Gospel. The challenge then is to make the many veiled aspects of Philippine Church history popular, and those popularly known, which are close to fictional, be freed from errors.

-Dennis Walder, Robert D. Hamner, Derek Walcott. New York: Twayne Publishers, 1993. xvi + 199 pp.''Critical perspectives on Derek Walcott. Washington DC: Three continents, 1993. xvii + 482 pp.-Yannick Tarrieu, Lilyan Kesteloot, Black writers in French: A literary history of Negritude. Translated by Ellen Conroy Kennedy. Washington DC: Howard University Press, 1991. xxxiii + 411 pp.-Renée Larrier, Carole Boyce Davies ,Out of the Kumbla: Caribbean women and literature. Trenton NJ: Africa World Press, 1990. xxiii + 399 pp., Elaine Savory Fido (eds)-Renée Larrier, Evelyn O'Callaghan, Woman version: Theoretical approaches to West Indian fiction by women. London: Macmillan Caribbean, 1993. viii + 126 pp.-Lisa Douglass, Carolyn Cooper, Noises in the blood: Orality, gender and the 'vulgar' body of Jamaican popular culture. London: Macmillan Caribbean, 1993. ix + 214 pp.-Christine G.T. Ho, Kumar Mahabir, East Indian women of Trinidad & Tobago: An annotated bibliography with photographs and ephemera. San Juan, Trinidad: Chakra, 1992. vii + 346 pp.-Eva Abraham, Richenel Ansano ,Mundu Yama Sinta Mira: Womanhood in Curacao. Eithel Martis (eds.). Curacao: Fundashon Publikashon, 1992. xii + 240 pp., Joceline Clemencia, Jeanette Cook (eds)-Louis Allaire, Corrine L. Hofman, In search of the native population of pre-Colombian Saba (400-1450 A.D.): Pottery styles and their interpretations. Part one. Amsterdam: Natuurwetenschappelijke Studiekring voor het Caraïbisch Gebied, 1993. xiv + 269 pp.-Frank L. Mills, Bonham C. Richardson, The Caribbean in the wider world, 1492-1992: A regional geography. Cambridge: Cambridge University Press, 1992. xvi + 235 pp.-Frank L. Mills, Thomas D. Boswell ,The Caribbean Islands: Endless geographical diversity. New Brunswick NJ: Rutgers University Press, 1992. viii + 240 pp., Dennis Conway (eds)-Alex van Stipriaan, H.W. van den Doel ,Nederland en de Nieuwe Wereld. Utrecht: Aula, 1992. 348 pp., P.C. Emmer, H.PH. Vogel (eds)-Idsa E. Alegría Ortega, Francine Jácome, Diversidad cultural y tensión regional: América Latina y el Caribe. Caracas: Nueva Sociedad, 1993. 143 pp.-Barbara L. Solow, Ira Berlin ,Cultivation and culture: Labor and the shaping of slave life in the Americas. Charlottesville: University Press of Virginia, 1993. viii + 388 pp., Philip D. Morgan (eds)-Andrew J. O'Shaughnessy, Karen Ordahl Kupperman, Providence Island, 1630-1641: The other puritan colony. Cambridge: Cambridge University Press, 1993. xiii + 393 pp.-Armando Lampe, Johannes Meier, Die Anfänge der Kirche auf den Karibischen Inseln: Die Geschichte der Bistümer Santo Domingo, Concepción de la Vega, San Juan de Puerto Rico und Santiago de Cuba von ihrer Entstehung (1511/22) bis zur Mitte des 17. Jahrhunderts. Immensee: Neue Zeitschrift für Missionswissenschaft, 1991. xxxiii + 313 pp.-Edward L. Cox, Carl C. Campbell, Cedulants and capitulants; The politics of the coloured opposition in the slave society of Trinidad, 1783-1838. Port of Spain, Trinidad: Paria Publishing, 1992. xv + 429 pp.-Thomas J. Spinner, Jr., Basdeo Mangru, Indenture and abolition: Sacrifice and survival on the Guyanese sugar plantations. Toronto: TSAR, 1993. xiii + 146 pp.-Rosemarijn Hoefte, Lila Gobardhan-Rambocus ,Immigratie en ontwikkeling: Emancipatie van contractanten. Paramaribo: Anton de Kom Universiteit, 1993. 262 pp., Maurits S. Hassankhan (eds)-Juan A. Giusti-Cordero, Teresita Martínez-Vergne, Capitalism in colonial Puerto Rico: Central San Vicente in the late nineteenth century. Gainesville: University Press of Florida, 1992. 189 pp.-Jean Pierre Sainton, Henriette Levillain, La Guadeloupe 1875 -1914: Les soubresauts d'une société pluriethnique ou les ambiguïtés de l'assimilation. Paris: Autrement, 1994. 241 pp.-Michèle Baj Strobel, Solange Contour, Fort de France au début du siècle. Paris: L'Harmattan, 1994. 224 pp.-Betty Wood, Robert J. Stewart, Religion and society in post-emancipation Jamaica. Knoxville: University of Tennessee Press, 1992. xx + 254 pp.-O. Nigel Bolland, Michael Havinden ,Colonialism and development: Britain and its tropical colonies, 1850-1960. New York: Routledge, 1993. xv + 420 pp., David Meredith (eds)-Luis Martínez-Fernández, Luis Navarro García, La independencia de Cuba. Madrid: MAPFRE, 1992. 413 pp.-Pedro A. Pequeño, Guillermo J. Grenier ,Miami now! : Immigration, ethnicity, and social change. Gainesville: University Press of Florida, 1992. 219 pp., Alex Stepick III (eds)-George Irving, Alistair Hennessy ,The fractured blockade: West European-Cuban relations during the revolution. London: Macmillan Caribbean, 1993. xv + 358 pp., George Lambie (eds)-George Irving, Donna Rich Kaplowitz, Cuba's ties to a changing world. Boulder CO: Lynne Rienner, 1993, xii + 263 pp.-G.B. Hagelberg, Scott B. MacDonald ,The politics of the Caribbean basin sugar trade. New York: Praeger, 1991. vii + 164 pp., Georges A. Fauriol (eds)-Bonham C. Richardson, Trevor W. Purcell, Banana Fallout: Class, color, and culture among West Indians in Costa Rica. Los Angeles: UCLA Center for Afro-American studies, 1993. xxi + 198 pp.-Gertrude Fraser, George Gmelch, Double Passage: The lives of Caribbean migrants abroad and back home. Ann Arbor: University of Michigan Press, 1992. viii + 335 pp.-Gertrude Fraser, John Western, A passage to England: Barbadian Londoners speak of home. Minneapolis: University of Minnesota Press, 1992. xxii + 309 pp.-Trevor W. Purcell, Harry G. Lefever, Turtle Bogue: Afro-Caribbean life and culture in a Costa Rican Village. Cranbury NJ: Susquehanna University Press, 1992. 249 pp.-Elizabeth Fortenberry, Virginia Heyer Young, Becoming West Indian: Culture, self, and nation in St. Vincent. Washington DC: Smithsonian Institution Press, 1993. x + 229 pp.-Horace Campbell, Dudley J. Thompson ,From Kingston to Kenya: The making of a Pan-Africanist lawyer. Dover MA: The Majority Press, 1993. xii + 144 pp., Margaret Cezair Thompson (eds)-Kumar Mahabir, Samaroo Siewah, The lotus and the dagger: The Capildeo speeches (1957-1994). Port of Spain: Chakra Publishing House, 1994. 811 pp.-Donald R. Hill, Forty years of steel: An annotated discography of steel band and Pan recordings, 1951-1991. Jeffrey Thomas (comp.). Westport CT: Greenwood, 1992. xxxii + 307 pp.-Jill A. Leonard, André Lucrèce, Société et modernité: Essai d'interprétation de la société martiniquaise. Case Pilote, Martinique: Editions de l'Autre Mer, 1994. 188 pp.-Dirk H. van der Elst, Ben Scholtens ,Gaama Duumi, Buta Gaama: Overlijden en opvolging van Aboikoni, grootopperhoofd van de Saramaka bosnegers. Stanley Dieko. Paramaribo: Afdeling Cultuurstudies/Minov; Amsterdam: Koninklijk Instituut voor de Tropen, 1992. 204 pp., Gloria Wekker, Lady van Putten (eds)-Rosemarijn Hoefte, Chandra van Binnendijk ,Sranan: Cultuur in Suriname. Amsterdam: Koninklijk Instituut voor de Tropen/Rotterdam: Museum voor Volkenkunde, 1992. 159 pp., Paul Faber (eds)-Harold Munneke, A.J.A. Quintus Bosz, Grepen uit de Surinaamse rechtshistorie. Paramaribo: Vaco, 1993. 176 pp.-Harold Munneke, Irvin Kanhai ,Strijd om grond in Suriname: Verkenning van het probleem van de grondenrechten van Indianen en Bosnegers. Paramaribo, 1993, 200 pp., Joyce Nelson (eds)-Ronald Donk, J. Hartog, De geschiedenis van twee landen: De Nederlandse Antillen en Aruba. Zaltbommel: Europese Bibliotheek, 1993. 183 pp.-Aart G. Broek, J.J. Oversteegen, In het schuim van grauwe wolken: Het leven van Cola Debrot tot 1948. Amsterdam: Muelenhoff, 1994. 556 pp.''Gemunt op wederkeer: Het leven van Cola Debrot vanaf 1948. Amsterdam: Muelenhoff, 1994. 397 pp.

I would like to begin by juxtaposing two very different pictures of global travel taken from recent articles in the popular media and considering their implications both for contemporary postcolonial theory and for our readings of “third world” fictional texts. In one article from the summer of 1997 (Newton 6-7), the Los Angeles New Times displayed on its cover a slender man in his thirties staring hopelessly out from behind a barred window. The caption read: “No Way Out: Romanian Gavrila Moldovan Risked His Life to Come to America. The INS Promptly Locked Him Up on Terminal Island. Three and a Half Years Later, He’s Still in Jail.” The accompanying story described Moldovan’s desperate flight out of Romania after being declared a “noncitizen” for writing an anti-government news article, which rendered him vulnerable to immediate arrest, and after his parents died in a suspicious car “accident.” Having slipped aboard a container ship bound for the United States together with some fellow countrymen (three of whom died en route), he was discovered and unceremoniously dumped ashore in Panama, only to stow away shortly thereafter on another container ship headed for the Port of Los Angeles. After finally reaching his destination, a “euphoric” Moldovan explained to the US authorities awaiting him at the port: “I come here to be in freedom.... ’” His “welcome” consisted of being arrested and locked up in the INS Processing Center on Terminal Island, in which, though never charged with any crime, he remained for several years before being transferred to Kern County Jail in Bakersfield, where he is currently languishing amongst a population of men awaiting trial for serious crimes (6-7)—one of thousands of refugees and immigrants who have been, and continue to be, incarcerated in prisons that have contracts with the INS, for lack of proper documents, for minor infringements of the law, or because they are denied political asylum despite compelling evidence of their vulnerability to government reprisal at home.

The essay focuses on the interrelated phenomena of literary cult and cultic text. Bearing on the conceptual ideas of Sergey Zenkin and Péter Dávidházi, we problematize the boundaries between text and cults on the example of two case studies. One has to do with a recent interpretation of Uncle Tom’s Cabin, a nineteenth-century bestseller novel that had a great impact on literary and political life of the United States in the antebellum period. David S. Reynolds argues that Ulyanov-Lenin’s escape from the Finnish mainland by breaking his way on the broken ice of the river to an island might have been inspired by Uncle Tom’s Cabin where a fugitive slave Eliza does exactly the same thing. This essay suggests seeing this random encounter of the East and the West, the fictional and the “real” not as а curious anecdote or coincidence but as a mechanism of inventing a cultic text. What happens when one of the prominent figures of the European historical narrative, the crown prince assassinated in 1914, reads the works of the Russian poet before the fatal day in Sarajevo? Milorad Pavić building his short story Prince Ferdinand Reads Pushkin upon recognizable allusions to Pushkin’s texts, highlights similarities and differences, the fatal and the accidental in the stories of the poet shot in the duel and the Austrian crown prince being a victim of an assassination — two intersective storylines that may be described as “isomorphic plots.”

We look on the totality of the past as dreams, certainly interesting ones, and regard only the latest state of science as true, and that only provisionally so. This is culture.Paul Veyne, Did the Greeks Believe in Their Myths?Reception studies in classics live a complicated scholarly life. On one hand, a healthy collection of new monographs appears on the market every year that shows the strength of this subfield, including such recent additions as Gonda Van Steen's Theatre of the Condemned: Classical Tragedy on Greek Prison Islands and Simon Goldhil's work on the Victorian reception of classics called Victorian Culture and Classical Antiquity: Art, Opera, Fiction and the Proclamation of Modernity. Collections of essays that contribute to the field are also copiously produced. Thus two scholars could lately declare that ‘[n]o sub-field in the discipline of Classics has experienced such growth, in both quantitative and qualitative terms, over the past fifteen years or so as the study of reception of classical material’. Charles Martindale, credited with throwing down the receptive gauntlet some twenty years ago, recently wrote an essay on the flourishing state of this subfield within classics, reporting that reception studies have proven classics to be not ‘something fixed, whose boundaries can be shown.’ He adds the following:Many classicists (though by no means the majority) are in consequence reasonably happy, if only to keep the discipline alive in some form, to work with an enlarged sense of what classics might be, no longer confined to the study of classical antiquity ‘in itself’—so that classics can include writing about Paradise Lost, or the mythological poesie of Titian, or the film Gladiator, or the iconography of fascism.

This article aims at describing the social life of the American people in several places that made the adventures of John Steinbeck as the author of the novel Travels with Charley in Search of America around the 1960s. American people’s lives are a part of world civilizations that literary readers need to know. This adventure was preceded by an author’s trip in New York City, then to California, Connecticut, Rhode Island, New Hampshire, Massachusetts, Maine, New Jersey, Saint Lawrence, Quebec, Niagara Falls, Ohio, Chicago, Illinois, Michigan, North Dakota, the Rocky Mountains, Washington, the West Coast, Oregon, Arizona, New Mexico, Texas, New Orleans, Salinas, and again ended in New York. In processing research data, the writer uses one of the methods of literary research, namely the Dynamic Structural Approach which emphasizes the study of the intrinsic elements of literary work and the involvement of the author in his work. The intrinsic elements emphasized in this study are the physical and social settings. The research data were obtained from the results of a literature study which were then explained descriptively. The writer found a number of descriptions of the social life of the American people in the 1960s, namely the life of the city, the situation of the inland people, and ethnic discrimination. The people of the city are busy taking care of their profession and competing for careers, inland people living naturally without competing ambitions, and black African Americans have not enjoyed the progress achieved by the Americans. The description of American society related to the fictional story is divided by region, namely east, north, middle, west, and south. The social condition in the eastern region is dominated by beaches and mountains, and is engaged in business, commerce, industry, and agriculture. The comfortable landscape in the northern region spends the people time as breeders and farmers. The natural condition in the middle region of American is very suitable for agriculture, plantations, and animal husbandry. Many people in the western American region facing the Pacific Ocean become fishermen. The natural conditions from the plains and valleys to the hills make the southern region suitable for plantation land.

<p><strong>Abstract.</strong> The importance of cities becomes ever greater not only for the modification of the landscape, but also for the distribution of social classes. Poets, philosophers and artists have imagined ideal cities that could satisfy the need for a good quality of life for citizens.</p><p> Since the most ancient civilizations poets and philosophers have imagined ideal cities, with road plots corresponding to the various social classes. In the final text I will describe some examples of ideal cities presented by Homer, especially in the description of the shield of Achilles, from Plato in the description of his Atlantis, etc.</p><p> Atlantis (Ἀτλαντὶς νῆσος, "island of Atlas") is a fictional island mentioned in Plato's works <i>Timaeus</i> and <i>Critias</i>, where Plato represents the ideal state imagined in <i>The Republic</i>.</p><p> The city depicted in the Homeric shield of Achilles, as an ideal form, centred and circular, competes with the other city scheme based on an orthogonal plan and linear structures. The form of the Homeric city has exerted a paradigmatic function for other cities in Greece and Rome.</p><p> Among the best known images of ideal cities I will consider the <i>Città del Sole</i> (<i>City of the Sun</i>) by Tommaso Campanella and Utopia by Thomas More.</p><p> There are many books of collection of paintings of cities (G Braun and F Hogenberg, 1966).The most complete and interesting is that of Caspar van Wittel or Gaspar van Wittel (1652 or 1653, Amersfoort &amp;ndash; September 13, 1736, Rome). He was a Dutch painter who played a remarkable role in the development of the <i>veduta</i>. He is credited with turning city topography into a painterly specialism in Italian art (G Briganti, 1996).</p><p> A rich collection of maps of Rome in the books by Amato Pietro Frutaz.</p><p> The city "liquid dimension" represents the complexities and contradictions of civic communities increasingly characterized by fragmentation and social unease.</p>

Experimental dramaturge-director John Jesurun in 1994 devised a multi-media theatre adaptation of Sophocles' Philoctetes at the behest of the iconic American avant-garde actor Ron Vawter, who at the time was dying of AIDS. Feeding on classical Greek drama and Jesurun's own trademark ‘mediaturgies’ alike, this production presented its audience with a barren and alien landscape where communication is both problematic as well as the only possible means of salvation. More concretely, it featured Vawter in the lead role creating a troubling tension between the play's fictional theme of physical suffering and the ‘embodied liveness’ it highlighted through the HIV-induced purple Kaposi rash on the actor's naked body. At the same time Jesurun'sPhiloktetesis also a funeral play about a stricken warrior narrating his own demise from beyond the grave, a memento mori that unsettles its ancient predecessor by recycling the mythological story of Philoctetes the existential transgressor who refuses to either die or live as he rather opts physically to rot in the isolation of a deserted island. The production thereby deliberately dramatized the actual crossing of the border between life and death with Vawter's naked Philoktetes re-enacting and commenting the process of his passing – all while literally decaying before the eyes of the spectators. Arguably, therefore, when the stricken warrior of Jesurun's play hauntingly reminds us that “the body knows the answer” whereas we ourselves “don't know the question,” he opens up a panoply of problems with the potential to range far beyond mere descriptions of story, scene, or theme. If anything, the case of Vawter'sPhiloktetes-performance indeed indicates that drawing attention to the mediation behind the artistic creation, and particularly the physical embodiment of the actor performing it, highlights both the artificiality and – above all – the negotiability of the illusion, thereby intrinsically invalidating reductive readings.

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. 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Having a preliminary place and paramount significance among Yaşar Kemal’s historical fiction novels, Look, the Euphrates River is Flowing Blood is the first book of his quartet entitled “An Island Tale” that was published in 1997. Dealing with the ordeal and uncanny feelings of the Anatolian people after the First World War, Yaşar Kemal recounts the material and spiritual destruction caused by the phenomenon of migration both within and beyond the borders in this work. As a result of the Exchange Agreement signed between Turkey and Greece in 1923, the inhabitants of Ant (Mirmingi) Island, were forced to migrate to lands they never knew. With the population exchange decision taken in Lausanne, the Greeks were sent to Greece and it was decided to settle the people who lost their homeland in the wars on this island in the Aegean. With this news, the people of the island experience some stages of queer, uncanny emotions, such as grief, anger, denial, bargaining, depression, and ultimately acceptance, and step into the Greek lands as an exchange. Vasili Atoynatanoğlu, who is a veteran of the Sarıkamış operation, however, did not participate in this forced migration. People from various origins who take refuge on the island, with the support of Poyraz Musa, launch a new life despite all the pain they have experienced. Predominantly based on Freud, Bhabha, and Kristeva’s theories of the uncanny, the paper handles the issues of forced migration between Turkey and Greece and its profound impacts on migrants and local people in the nation-building process of the new Turkish state. The purpose of this paper is to analyse Yaşar Kemal’s Look, the Euphrates River is Flowing Blood through the theories of the “uncanny” and nationalism by highlighting the uncanny presence of characters within the novel.

People living all over the world belong to different religions, follow different cultures and speak different languages. They have to adapt themselves to the changing situations and places lest they should experience untold sufferings. Life throws all a lot of challenges, both simple and complicated, and it is up to all to rise and perform, take decisions that can be sometimes satisfying, and sometimes disturbing, and walk through it as if none were affected by it. It is not an easy thing to do. Life is not a bed of roses to live easily as well as it is not a bed of thorns also. It is a two sides’ coin. An admiring author, Lahiri belongs to Indian origin, born in London, frequent visit to Calcutta, grew up in Rhode Island, studied later married in New York, shifted to Italy, at present as a Professor in New Jersey. Hence, she has faced a lot of problems as an immigrant which she tries to express in her work. Her immigrants are the examples for both Melting Pot and Salad bowl associated spirits like seasonal beings. She is the great observer of versatile genius of analyzing various cultures.