Artigos de revistas sobre o tema "Men, white – fiction"

Abstract This paper will explore the representation of men’s aging experiences in contemporary U.S. fiction. While most gender-ed approaches to aging have focused on women, which has contributed to the cultural invisibility of older men, this study focuses on men’s aging experiences as men, thus challenging the inverse correlation between masculinity and aging. To do so, the study draws on a selected number of contemporary U.S. male-authored fictional works, which question the widely-held assumption that aging is a lesser concern for men, or that men and women’s aging experiences may be simply defined as opposed. The literary corpus includes male authors from different backgrounds so as to illustrate how (self-)representations of aging men vary according not only to gender but also class (Richard Ford), race (Ernest Gaines), and sexual orientation (Edmund White), amongst other factors. The presentation will thus end up challenging the conventional equation of men’s aging processes with (sexual) decline, exemplifying their plurality as well as irreducible contradictions.

This article traces both the centrality and fragility of the figure of the heterosexual white male to the moral and ideological core of the apartheid regime. Through a comparative reading of Zakes Mda's The Madonna of Excelsior (2002) and Gerald Kraak's Ice in the Lungs (2006), the article examines how apartheid's Immorality Act functioned as the legislative mechanism to produce and police heteronormative whiteness. The randomness and unpredictability of sexual desire in both historical novels expose the tenuousness of this idealised heteronormative whiteness that lay at the centre of the apartheid project. Situated within the moral panic and political turmoil of the 1970s, the novels identify sex as a powerful lens through which to read the history of apartheid. While Mda's satirical novel focuses on transgressive interracial sexual desire, Kraak's realist text explores same-sex desire and intimacy. My reading of the two novels engages with the political history of apartheid's sexual policing and insists on the inextricable entanglement of its heteronormative and racial supremacist provisions. The traditional ideological centrality of the vulnerable white woman is displaced in the novels by white men whose transgressive sexual desires for black women (in Mda's novel) and other white men (in Kraak's) refuse the certainty and naturalness of heteronormative whiteness.

Abstract: Zora Neale Hurston's academic scholarship began in physical anthropology, measuring Black bodies and relating their statistical data to racial type. While Hurston's critics have understood her subsequent work in fiction and folklore as fleeing this troubling research, this essay reconsiders her work in anthropometry as well as the narratives of embodiment that she curated in Mules and Men . Employing what Frantz Fanon in Black Skin, White Masks theorizes as "a slow composition" (111) of "self as a body," this rereading presents Hurston as an acute critic of eugenic interpretive methods whose writings anticipate the racism built into contemporary facial recognition algorithms.

This paper highlights the different layers of meaning that characterize the notion of manhood in Gaines’ fiction. The quest for manhood represents an imperative for the frustrated men in the framework of the social context wherein they are emasculated. Here, manhood should be grasped through a binary paradigm. On the one hand, the expression of manhood equates with male domination and violence. On the other hand, due to social expectations, manhood refers to the struggle for freedom. It undermines the white racial superiority and it claims blacks’ humanity. Manhood fosters humanistic principles. Thus, it takes on a universal dimension.

This essay reassesses the notion of passionlessness in relation to debates on race and women's fiction. In nineteenth-century writing by white men and women, the primitive other-animal, black, or Indian-becomes the touchstone of intact maleness in a smothering and emasculatory culture. To write about blackness is to write about desire, but it is also to avoid desire altogether: the black figure represents both sexuality and childish innocence. There is the same contradiction as that between "dumb beasts" and "the Beast," between the helpless and the wicked. But in the implicitly emasculatory scenarios of women's writing, this essay detects a rejection of female as much as of male desire. Women's novels both facilitate and impede a consuming gaze. In repeated episodes, the black male body is exposed and punished, celebrated and lamented, in the same moment. Blackness threatens to call forth or desublimate white desire, and white writers move between the sexual allure of blackness and the need to reaffirm the superiority of white discipline. The emasculatory scenario serves as another opportunity to assert a Christian, maternal love, even if, to the other readers, this can seem an unconvincing "cover story" for the texts' secret "black" desire.

American storytelling has been dominated by White heterosexual men and such scripts/stories disseminate messages that support their authority by narratively or symbolically subjugating competing identities. Consequently, in order to open texts up to diverse meanings/representations, fans create their own works which better serve their desires/needs (what Henry Jenkins referred to as ‘textual poaching’ in 1992). But what happens when, having been given control of a canonical text, the fan becomes the scriptwriter who modifies the source material to reflect their own civic commitments? How might they differently negotiate White heterosexual men’s hierarchical authority and the subjugation of marginalized identities? The scripts for Hannibal (NBC 2013–15) allow us to answer such questions. In adapting Thomas Harris’s Hannibal Lecter novels to television, scriptwriter Bryan Fuller reconfigured and reshaped (rather than retold) the source material in a way which reflects the transformational practices of fan fiction. In what ways might Fuller’s reconfigured teleplays provide a platform for marginalized perspectives (and thus challenge the White heterosexual male’s dominance of the source text)? What is the discursive function of the scriptwriter in reshaping source material in order to speak to/for/about diverse and pluralistic identities? How might (and why does) Bryan Fuller’s scripts cannibalize the canon?

This article is one result of Indigenous-led collaboration that challenges the erasure of Indigenous people in the history of Newfoundland. It argues that, during the nineteenth and early twentieth centuries, Mi’kmaw community members were historical actors living in relationship with the land and waters that sustained them. They challenged encroachments onto their territory and travellers’ ideas about the Mi’kmaq, and they lived their own lives in their own territory with dignity, knowledge, skills, and humour. It is possible to discern these characteristics of Mi’kmaw life even within the historical record, written almost exclusively by white men, that focuses mainly on non-Indigenous people’s experiences. The article examines both writing deemed literature and writing deemed non-fiction, demonstrating that both can interrupt the historical erasure of Indigenous peoples and relationships to territory. Historians can learn from, and be inspired by, writers and scholars in a number of disciplines who, like historians, grapple with how to be responsible storytellers in the present-day while offering insight into the past.

The author reviews Barry Jenkins’s 2018 film adaptation of Baldwin’s novel, If Beale Street Could Talk, finding that Jenkins’s lush, painterly, and dreamlike visual style successfully translates Baldwin’s cadenced prose into cinematic language. But in interpreting the novel as the “perfect fusion” of the anger of Baldwin’s essays and the sensuality of his fiction, Jenkins overlooks the novel’s most significant aspect, its gender politics. Baldwin began working on If Beale Street Could Talk shortly after being interviewed by Black Arts poet Nikki Giovanni for the PBS television show, Soul!. Giovanni’s rejection of Baldwin’s claims that for black men to overcome the injuries of white supremacy they needed to fulfill the breadwinner role prompted him to rethink his understanding of African American manhood and deeply influenced his representation of the novel’s black male characters. The novel aims to disarticulate black masculinity from patriarchy. Jenkins’s misunderstanding of this aspect of the novel surfaces in his treatment of the character of Frank, who in the novel serves as an example of the destructiveness of patriarchal masculinity, and in his rewriting of the novel’s ending.

Continuous pressure against the South African Government has led to what previously seemed unthinkable: the reform of apartheid. Strikes from 1973 onwards, the Soweto revolt in 1976, the increasing resistance from school and consumer boycotts, the strengthening black trade-union movement and mass political organisations, and the unceasing campaign by the African National Congress, have led the State President, P. W. Botha, to declare in early 1986 that apartheid in its present form cannot be maintained, despite strong reactions from sections of Afrikaner interests. Many of the structures thought essential to racial segregation are to go: the pass laws controlling the movement of African men and women, the fiction that the ‘Bantustans’ are ’independent’ or ‘national’ states, and that urban blacks are citizens of other countries. There is even the promise of political representation for Africans. These measures appear to mark the end of Botha's attempt to create a divided black working class — some with residence rights in white-only areas, and others, notably unskilled migrants, without. The specific shape of the more racially-integrated South Africa which Botha promises remains unclear. It is not surprising in a recession that the President appears to have recognised the inappropriateness and disproportionate cost which maintaining structures of black recruitment to white employers has on the state's exchequer — not including the cost of policing influx control.

Abstract This article considers Kentucky’s Mammoth Cave as an unexpected site for nineteenth-century theorizations of racialized Blackness. Mammoth Cave became a major tourist attraction in the 1840s, generating a host of guidebooks, travel accounts, magazine illustrations, panoramas, newspaper articles, and fiction. Crucial to its fame was the fact that the guides who led visitors through the cave were enslaved men. This article argues that white writers responded to the guides’ knowledge of the cave by reframing it as affinity. In doing so, they transformed Mammoth Cave’s subterranean darkness into a manifestation of racialized Blackness. But the writers’ racialization of Mammoth Cave also had a tendency to slip out of their control. As they associated its spatial darkness with racialized Blackness, the literal underground of Mammoth Cave flickered into an underground that was more than literal—a mysterious Black formation, of unguessed dimensions and certain danger, beneath the world as they knew it. Finally, the article asks what we can glean from the literature of Mammoth Cave about the body of Black thought it sought to disavow: the alternative relations between race and the underground that the guides theorized through their own subterranean explorations.

When gender is brought into concerns about older people, the emphasis often lies on stereotypes connected to older women, and few comparative studies have been conducted pertaining to the representation of the intersection between older age and gender in fiction. This article argues that not only children’s literature, traditionally considered to be a carrier of ideology, plays a large part in the target readership’s age socialization, but so do young adult and adult fiction. In a large corpus of 41 Dutch books written for different ages, the representation of older men and women is studied through the verbs, grammatical possessions and adjectives associated with the relevant fictional characters, which were extracted from the texts through the computational method of dependency parsing. Older adult characters featured most frequently in fiction for adults, where, more so than in the books for younger readers, they are depicted as being prone to illness, experiencing the effects of a deteriorating body and having a limited social network. In the books for children, little to no association between older adulthood and mortality was found in the data. Ageist stereotypes pertaining to both genders were found throughout the corpus. In terms of characterization, male older adults are associated more with physicality, including matters of illness and mobility, while character traits and emotions show up in a more varied manner in connection to female older characters.

Вступ. Філологічний аналіз словесних та художніх описів емоційного стану героїв може допомогти виявити ті якості, які сприяють характеристиці літературного персонажа та основної ідеї твору в цілому. Мета. Мета дослідження – пролити світло на мовно-стилістичні засоби, які сприятимуть створенню психологічного пор-трета головного героя в художньому тексті. Для виконання завдання потрібно з’ясувати найпотужніші прийоми, які використовує автор, і ґрунтовно пояснити наміри автора під час створення психологічного портрету головного героя або героїв роману.Методи. Перелік методів, що використовуються у дослідженні, різноманітний. Серед найбільш ефективних є метод індукції та метод синтезу. Контекстуальний аналіз мовних одиниць розглядається як надзвичайно важливий. Це дослідження має важливе значення з точки зору його практичного та теоретичного значення. Дослідження може бути практично використано для лінгвостилістичного аналізу художньої літератури.Результати. Майстерно зображені автором психологічні портрети протагоністів допомагають зрозуміти глибоку психологічну суть самого роману. Головною ідеєю твору є мотив дружби, на якому ґрунтується опис персонажів. Створюючи харак-теристики літературних образів, автор використав засіб опису середовища та емоцій головних героїв. Таким чином, психологічний портрет образу Джорджа та Ленні був створений за допомогою лінгвостилістичних засобів та поетичних прийомів. Щодо останніх, вони включали дискретний груповий портрет та опис природи, щоб підкреслити схожість характерів героїв, а також показати вражаючий контраст у їх зовнішності. Найчастіше використовуються лінгвостилістичні засоби: порівняння, персоніфікація, епітети, метафори та зооморфне порівняння.Висновки. Мовно-стилістичні засоби відіграють важливу роль у створенні психологічного портрета літературного персо-нажа. Мовна виразність і яскравість висловлювань досягається не лише завдяки виразним стилістичним та оцінно-стилістичним компонентам, а й тому, що слова і словосполучення можуть набувати переносних значень, бути частиною стилістичних фігур, що провокують створення образного значення. Для створення психологічного портрета використовуються різні мовно-стилістичні засоби, такі як епітет, метафора, метонімія, оксиморон та інші, які допомагають розкрити суть персонажів, роз-пізнати їхній внутрішній світ та спосіб їхнього мислення та дій.Ключові слова: психологічний портрет, літературний текст, стилістичні засоби, поетична мова, літературний герой. Introduction. The philological analysis of verbal and artistic descriptions of the characters’ emotional state can help profoundly identify those qualities that contribute to the characterization of the literary character and the main idea of the work as a whole.Purpose. The research aims to shed some light on the linguistic and stylistic means that will contribute to creating the psychological portrait of the main character in the literary text. To accomplish the task we need to figure out the most powerful techniques the author uses and thoroughly explain the intentions of the author while creating the psychological portrait of the personage.Methods. The list of methods used in the research is diverse. Amongst the most efficient are the method of induction and the method of synthesis. The contextual analysis of linguistic units is viewed yet as one of paramount importance. This study is important in terms of its practical and theoretical value. The research can be practically used to deal with linguostylistic analysis of the literature.Results. Skillfully written psychological portraits have been used to focus on deep psychological meaning of the novel “Of Mice and Men”. The main idea of the novel is the motive of friendship, on which the description of characters is based. Meanwhile, creating the personages’ characteristics, the author used the means of identifying the description of the environment and emotions of characters. Thus, the psychological portraits of the images of George and Lenny were created with the help of linguo-stylistic means and poetic devices. Regarding the latter, they included a discrete group portrait and a description of nature to emphasize the similarity of the characters of the heroes, as well as to show a striking contrast in their appearance. The most commonly used linguo-stylistic means are: comparison, personification, epithets, metaphors, and zoomorphic comparison.Conclusions. Linguistic and stylistic means play an important role in creating a psychological portrait of a literary character. Linguistic expressiveness and brightness of utterances are achieved not only due to expressive stylistic and evaluative-stylistic components, but also due to the fact that words and phrases can acquire figurative meanings, be part of stylistic figures that provoke the creation of figurative meaning. To create a psychological portrait, various linguistic and stylistic means are used, such as epithet, metaphor, metonymy, oxymoron and others, which help to reveal the essence of the characters, recognize their inner world and the way they think and act.Key words: psychological portrait, literary text, stylistic means, poetic language, literary personage.

This article analyzes the film Head of State’s cultural imaginary of presidential blackness that signifies national progress while sublimating social conflict. The plot imagines a black man from the hood successfully running for presidency, living the American dream, and becoming an unconventional national icon. His symbolic blackness comprises two markers of difference: his identification with the disenfranchised hood and the black diaspora. As he challenges racial inequality in the U.S. as well as moral corruption among the élite, he unifies one historical fiction of America. I focus on how the film attributes an anti-establishment legacy to a minority president based on his countercultural identity performances although he remains complicit with foundational institutions of government. While the film projects hopes for future racial and economic equality upon a fictional black president and strategically redefines the American dream, I argue that it appropriates and revives American exceptionalist myths.

Image of white women occur frequently in postcolonial writings. This paper attempts to carry out a comprehensive analysis of the white womens portrayals in the selected Pakistani postcolonial fiction to determine the comparative discrepancy between the assumptions and reality about the role of white women in the colonies. The white women being the part of civilizing mission of the white man, are seen with a particular light by the indigenous people because in comparison to the white man, white womes role has been that of a benevolent mother. This problematizes the situation and hence calls for the investigation into the portrayals and the roles of the white women as projected by the indigenous writers. The study delimits to Forster, Sidhwa, and Hamid and analyses the selected chunks of the text under the lens of theoretical frame work proposed by Jayawardena within the postcolonial context.

This essay isolates, analyzes, and contextualizes a prevalent character type in nineteenth-century American fiction that it calls (following Ina Ferris) the “remnant.” Although remnants appear in the earliest American experiments in fiction, the type becomes truly ubiquitous in postbellum regionalist writing. Depicted as living relics or belated leftovers from superseded cultural epochs, remnants, the essay claims, project the distinctly modern modalities of displacement and ontological insecurity into the regionalist texts they inhabit, thus unsettling the conventional critical readings of the genre as a backward-looking nostalgic form while also opening anew the question of regionalism’s complicated appeal for its contemporary readers. While beginning and ending with Sarah Orne Jewett’s representative remnant figure, Captain Littlepage, the essay also surveys several lesser-known examples, discusses the type’s peculiar characteristics, and speculates on the reactions it drew from its original audiences.

In Southern African postcolonial discourses, sexual violation is often deployed as an allegory for either patriarchal control or racial domination. This perhaps explains the huge archive of narratives of sexual violence in the Southern African literary canon. While this archive and its scholarship mainly concentrates on the experiences of women and girls, a substantial number of texts portraying the sexual abuse of boys from the region demand that scholarly attention is paid to this phenomenon. Does contemporary South African fiction’s privileging of the sexual violation of boys suggest that boys are as vulnerable to this form of violence in moments of national crisis as are girls and women? Reading K. Sello Duiker’s Thirteen Cents1 as a portrayal of the precarious intersection of post-apartheid familial dystopia on children’s bodies—articulated through under-age prostitution—I explore how fiction intervenes successfully to spotlight the susceptibility of boys to pederasty in moments of societal crisis. Additionally, I examine how homosexual prostitution is portrayed as a tool for survival for helpless boys, on the one hand, and exhibition of patriarchal power for the men that pay to have sex with these boys, on the other. I argue that the depiction of underage sex work of some boys in South African cities can help rescue these victims from being perceived as mere statistical footnotes to Southern African inequities and patriarchal power.

The science fiction of Mary Shelly has engendered an increasing attention of an increasing number of literary scholars in their meticulous and miraculous exploration of the ideological and epistemological values in which the cautious and conductive production of this science fiction titled The Last Man (1826) has been interwoven in the very pessimistic narrative facts and narrative events to crop up in 2073 an incredible fashion. A good look taken at the analytical findings of a good many scholars who have been devoted to the studies of this science fiction, it will be found in an apparent way that they have done a lot in the discussions about the themes, narrations, as well as, languages of this science fiction, the minds of the characters as have been depicted in this science fiction, and, the artistic thoughts of it from various perspectives while a little in the essential explorations of the true transcendence of man as indebted to what has been mirrored in it. For the sake of the inadequate elaboration in this regard, this article will aim to make an exploration of how the evolution, promotion, and, liberation of man as focused on the enrichment and improvement of the theoretical frameworks and theoretical systems of legal naturalism have a great impact on the stimulation and promotion of the essential transcendence of the views, values, and, virtues of man in line with what has been exemplified in this science fiction to make it clear that this science fiction has shed some impressive lights in the successful and sufficient achievement of this transcendence in the future.

What happens once the rogue rides off into the sunset? This cross-genre essay considers the figure of the rogue’s decline and gradual dismemberment in the face of the pressures of the world. Beginning with the “rogue” digits and other body parts lost by the men who surrounded him in his youth—especially his grandfather—Dobson considers the costs of labour and poverty in rural environments. For him, the rogue is one who falls somehow outside of cultural, social, and political norms— the one who has decided to step outside of the establishment, outside of the corrupt élites and their highfalutin ways. To do so comes at a cost. Turning to the life of writer George Ryga and to the poetry and fiction of Patrick Lane, this essay examines the real, physical, material, and social costs of transgression across multiple works linked to rural environments in Alberta and British Columbia. The essay shows the ways in which very real forms of violence discipline the rogue, pushing the rogue back into submission or out of mind, back into the shadowy past from whence the rogue first came. Resisting nostalgia while evincing sympathy, this essay delves into what is at stake for one who would become a rogue.

Contemporary transnational and transcontinental trends of theory enable a mandatory analysis of how region and regionalism have been fundamental in the solidification of the Canadian national ethos, making locality and globality go hand in hand. Negotiating the meaning of regional identities is therefore a consequence of the processes of globalisation, which have been affecting how we (de)construct the nation. This paper addresses how a vested representation in fiction from the Canadian west and the prairies helped keep at bay the spectrum of fragmentation that threatened the hermetic body of a national literature and culture. Whereas traditional patterns of history and fiction have constructed the west under a recurrent attention to ossified issues of landscape, the west and the plains were more recently conceptualized in attention to a different tackling of time / space: one that unified the former prairies and the west in just one single experience. Anticipating much of the theoretical approach to the global through locality launched in the early 21st century, while also being inheritors of previous theoretical and fictional attempts at renewing regional myths, Guy Vanderhaege’s The Englishman’s Boy (1996) and Thomas Wharton’s Icefields (1997) make the structuring potential of their times and spaces lose their hegemony, thus favouring the rooting of postmodern myths and ineffability to unmark the borders of region, and destabilize those of the national discourse.

Not only is the workplace a significant site of the social construction of feminine and masculine identities but in an increasing range of service sector occupations, a gendered bodily performance is a significant part of selling a product. In this paper, we draw on Butler's notion of gender identity as a regulatory fiction to investigate the consequences of the specificity of embodiment and gendered performances. Drawing on three case studies in the City of London, we explore the differential fictions constructed by men and women engaged in interactive service work in a professional capacity in merchant banks. We examine the ways in which women are embodied and/or represented as ‘woman’ in the workplace, comparing women's sense of themselves and their everyday workplace experiences with those of men doing the same job. Our aim is to establish whether the necessity of selling oneself as part of the product in such service sector employment challenges the idealisation of male workers as disembodied rational subjects, while not necessarily disrupting the inferior position of embodied women.

This study provides a portrait of the occupational roles in the series most watched on the generalist DTT channels in the United Kingdom and Spain. The media representations of gender role attitudes in the workplace, especially in fiction, influence the popular culture and social imaginary of the audiences. In this context, the study of the series with the largest audience is important to discover the patterns that these fictions show about work environments. This article analyzes 40 popular series broadcasts on generalist television channels in the United Kingdom and Spain. A sample of more than 400 characters reveals the representation of women and men in the workplace, highlighting the similarities and differences regarding job profiles, leadership, and prestige. The comparison between both markets allows us to find relevant concepts on the current representation of women and work. While in the UK the differences are minor, the results in Spain confirm the differences between male and female characters associated with various aspects of the workplace such as the prestige and positioning of the most qualified jobs.

<em>Hills Like White Elephants</em> is one of the short stories written by American writer Ernest Hemingway, which is mainly about conversations between an American man and a girl who are arguing about whether she should receive an abortion procedure when waiting for an express train from Barcelona to Madrid. This paper aims to analyse the protagonists’ predicament through stylistics of fiction as a research perspective and comes to a conclusion that facing the disillusion of traditional values and the dysfunction of original morality under the attack of wars, the protagonists are the representatives of “the lost generation” who suffers the trauma and wanders around the world, only to find out there’s no corner for them to rest and elude away the loneliness.

John Kinsella’s fiction emphasizes similar themes of environmental activism, political protest, and critique of Australian society, as does his widely acclaimed poetry. As in his verse, his orientation as a fiction writer is both local and global, regional and cosmopolitan. But in his fiction Kinsella engages in a double interrogation of both mainstream society and his own posture in opposition to it. In the novella Pink Lake a film director is interviewed by an uncomprehending journalist and driven to desperation by the philistinism of Australian society. But his own arrogance, unexamined white and male privilege, and illusion that just because he practices what he calls cinema vérité he has in fact attained the truth mean that he is part of the problem as well. Kinsella examines the problematics of social critique in a neoliberal world, noting their ironies while still believing in their possibility and necessity.

Through an account of Derrida's late text on Paul de Man, ‘“Le Parjure”, Perhaps’, as a deliberately indiscrete confession, this essay considers the wider question of secrecy. It examines an unsuspected institutional history of deconstruction while suggesting a role for secrecy as the necessary condition of any critical reading. Along with De Man, the essay finally revisits the claim for ‘the radical secrecy of fiction’ as a basic structure of phenomena.

AbstractThe Indian Rebellion leader Nana Sahib became Victorian Britain's most hated foreign enemy for his part in the 1857 Cawnpore massacres, in which British men, women, and children were killed after having been promised safe passage away from their besieged garrison. Facts were mixed with lurid fiction in reports which drew on villainous oriental stereotypes to depict Nana. The public appetite for vengeance was thwarted, however, by his escape to Nepal and subsequent reports of his death. These reports were widely disbelieved, and fears persisted for decades that Nana was plotting a new rebellion in the mountains. He came to be seen as both a literal and symbolic threat; the arrest of suspects across the years periodically revived the memories and the atavistic fury of the Mutiny, while his example as the Victorians' archetypal barbaric native ruler shaped broader colonial attitudes. At the same time, he influenced metropolitan perceptions of empire through the popular Mutiny fictions in which he was a larger-than-life villain. Tracing Nana's changing presence in the British collective memory over generations illustrates the tensions between metropolitan and colonial ideas of empire, and suggests the degree to which an iconic enemy figure could shape perceptions of other races.

This research aims to describe the ability to determine information in intensive reading of fiction texts in Class X MAN 2 Makassar City students; to describe the ability to interpret information in intensive reading of fiction texts in Class X MAN 2 Makassar City students; and to describe the ability to evaluate information in intensive reading of fiction texts in Class X MAN 2 Makassar City students. The variables used are the ability to determine information, interpret information, and the ability to evaluate information of Class X MAN 2 Makassar City students. The population in this study were all 12 Class X MAN 2 Makassar City students, while the sample was 2 classes, namely Class X-7 and Class X-11 with a total of 80 students. The research data was obtained by giving a multiple choice test consisting of 25 questions. The data analysis technique is descriptive statistics. Based on the results of descriptive statistical analysis, it was found that the ability to determine information for Class X MAN 2 Makassar City students was very capable; the information interpretation ability of Class X MAN 2 Makassar City students is very capable; and the information evaluation ability of Class X MAN 2 Makassar City students is very capable.

This article explores the (de)colonisation of the body and body boundaries in contemporary South African speculative fiction, paying particular attention to award-wining author, Lauren Beukes's, second novel, Zoo City (2010). I will apply Lara Cox's (2018:317) argument that 'Haraway's cyborg resembles the liminal view of identity presented by queer theory, which seeks to blur strict divisions between sexual and gender categories, dissolving binary oppositions such as woman/man and heterosexual/homosexual', to my reading of Zoo City. By centring the novel around Zinzi December, a resident of 'Zoo City' (the marginalised underbelly of Johannesburg), and situating the novel in the cradle of humankind, Beukes reacts against South Africa's colonial history and its colonisation of the body by blurring the animal-human boundary and challenging the colonial construct of body binaries. The novel can be read as a decolonial feminist text as it re-writes South Africa's apartheid history and critiques its division, separation and bodily segregation. Furthermore, I explore how fictional bodies are imagined and constructed in the text; I ask what kinds of boundary-breaking bodies predominate; and consider their thematic, narrative, and political significance in the postapartheid imaginary in relation to speculative fiction. I examine how new boundaries (particularly between 'normative' society and 'Zoo City') are formulated. Zoo City pulls into focus Kristeva's (1982) notion of the abject body as a central to its concerns, while also bringing attention to Foucault's (1992) notion of the 'disciplined' body. It foregrounds questions about the formulation and destabilisation of identity, with a particular focus on the construction of female identity. This article builds on the critical literature on the dystopian post-apartheid state by examining Zoo City's depictions of marginalised people and its construction of the body and body boundaries, as well as by extending the examination of representations of the body in speculative fiction.

This article examines Ulrich Horstmann's science fiction radio play Die Bunkermann-Kassette (The Bunker Man Cassette, 1979), in which the author frames fears and anxieties surrounding a potential nuclear conflict during the Cold War as apocalyptic self-annihilation of the human race. Radio, especially radio drama, had a unique role in capturing the historical imaginaries and traumatic experiences surrounding this non-event. Horstmann's radio drama and the titular cassette tape become sound artifacts that speak to the technological contexts of their time, while their acoustic content carries the past sounds into the present. In the world of the play, these artifacts are presented in a museum of the future, which uses the possibilities of science fictional imagination and speculation to create prosthetic memories of the Cold War. The article suggests that these memories are cyborg memories, because the listener is a fully integrated component of radio technology that makes these memories and recollections of imagined events possible in the first place.

Recent postcolonial novels have touched on Islamic faith and the Prophet, presenting a humanised image of Islam and Muḥammad. Such fiction has succeeded in writing back to Orientalist dehumanisation of the Other and stereotypes of Muslims as well as writing against fundamentalist reactionary appropriation of Islam. Leila Aboulela in The Translator (1999) interprets Islam literally and metaphorically to non-Muslims in a fictional romance that takes the protagonists from Scotland to Sudan. Assia Djebar in Loin de Médine (1991) deals with the beginnings of Islam in Arabia. This historical novel concentrates on women's voices that have been marginalised or dropped altogether from accounts by male historians. Salim Bachi in Le Silence de Mahomet (2008), narrates the advent of Islam through multiple points of view: by two wives of the Prophet, Khadīja and ʿĀʾisha, as well as by two influential men, the Prophet's companion Abū Bakr and the military leader Khālid b. al-Walīd. This polyphonic novel allows the complexity and diversity of worldviews to be juxtaposed and intertwined. The three novels offer fresh humane portraits of iconic figures and of Islam's message while simultaneously highlighting human frailty and splendour.

What human values would you deny to save your life? In this work of philosophical short story fiction, a group of families are on vacation touring Frank Lloyd Wright’s Fallingwater when they hear gunshots. While most are confused, one attuned man realizes the danger and quickly gets the children safely into the basement. The remaining group is then confronted by men with guns looking to sort out, and kill, everyone who are not Christian. They are, they say, trying to bring America back to its true values and roots. An offended black man confronts them, but they assure him, they aren’t racists, they are good Christian men. They kill a Jewish man, who makes clear while he believes Jesus was a good man, but not the son of God. The narrator’s husband is then picked next and asked to confirm his Christian faith. His wife knows he’s an atheist and tries to will him to lie. Instead, her husband confesses both his Canadian citizenship and his lack of Christian faith, and is killed. Shortly thereafter police snipers show up and show the gunmen dead. The families are safe, but the narrator must now explain to their two children in the basement, that their father is dead.

Is a dead homeless person social commentary? Is a dead homeless person art? In this philosophical short story fiction, the narrator goes to an upscale, “undiscovered artists” experience in New York City. While at the event she realizes there is a dead homeless person hanging from the ceiling in the corner. Nobody seems to mind, and she assumes people just haven’t noticed. As the show finishes, she realizes people do notice, are not offended and, in fact, simply consider the dead person is part of the artistic experience. The narrator questions the security guards who explain the homeless person died on the street and was moved into the gallery to wait until the police showed up. Dead homeless people are common enough that, even after this one is removed, another will be available shortly to take its place.

To adapt is to adjust something to be fit in a new position or situation. A general phrase which could be said about this wide term. In literature the term is used to modify that a work of art has been reused and produced in being other than the former one. The adapted work is going to be fresh as it is recently having been written, yet that does not mean it will be a successful one. Adaptation has been known since ages; however, it has not come to be known under that name. Eventually, it is come to be known as historical novels. History should be built on facts and nothing but facts, while in historical fiction the readers are going to encounter many fictions, which make it a novel. This work is going to shed light on this subject. It tries to study the Talisman (1825) the work of Sir Walter Scott as well as Michael Crichton‟s masterpiece Eaters of the Dead (1976). Both authors are great ones. However, this work will show that there are some ideas and information reflect other critical points are used by both authors and their adapted works.

Abstract Joseph Conrad devoted twenty years to the writing of short stories. The wide range of subject and setting, spanning from sea stories to domestic tales, managed to constitute Conrad’s reputation as a master story-teller capable of capturing his audience with any theme. While the stories vary in quality, length and themes explored, they all oscillate around the subject of human psyche, with its unpredictability and dark corners portrayed in a rather complex way. The paper seeks to explore the vision of humanity, emerging from Conrad’s short fiction, as well as the literary devices which enable him to capture the essence of human struggle. It focuses primarily on Conrad’s extensive use of figurative language, which contributes to the lyrical quality of his texts, and enables him to express the anguish and disintegration of his characters.

Mark Twain's Adventures of Huckleberry Finn (1884) contains the materials for a wide-ranging analysis of the different and competing understandings of American manhood in the nineteenth century and the ways in which men might interact with each other and love each other. In order to understand better the sexual and emotional dynamics of the novel, we must understand the other kinds of writings about men alone and together that Twain was responding to. In this essay I place Twain's classic novel in two nineteenth-century discursive contexts that have been obscured in the existing criticism: the fiction of romantic friendship and the public debate on the homeless man. Huckleberry Finn may be seen as the reverse of the medal of normative, middle-class masculinity in Victorian America and as a counterpoint to the more conventional, idealized accounts of romantic friendship in the works of several of Twain's contemporaries and rivals. I suggest that while Huck and Jim negotiate an uncommon type of romantic friendship across barriers of race and generation, the duke and the dauphin appear as a grotesque parody of high-minded "brotherly love." By co-opting some of the conventions of romantic friendship fiction, Twain decreased the distance between his underclass characters and middle-class readers. Yet by writing and publishing the first novel about tramps during a period of heightened national concern about homeless men, Twain increased the topicality and popular appeal of what was, in its initial American publication in 1885, a subscription book that needed an element of sensationalism in order to sell.

Purpose In previous research on rhetoric and narrative in management research, cultural narratives have been studied as tools to reflect on rhetorical situations from the perspective of management. The purpose of this paper is to present a similar exploration of rhetoric while focusing on a modern example from popular culture: the television series Mad Men. Design/methodology/approach This paper first discusses rhetorical concepts from the work of Kenneth Burke and Richard Lanham as inspirational guides, thereafter, these concepts are used to analyze the case of Mad Men. Specifically, the main character Don Draper is analyzed as a homo rhetoricus in an attention economy. Findings Don Draper becomes a case study of what it means to introduce a rhetorical perspective in advertising and management. It is argued that Don Draper’s reflections in the series can be described as a “perspective on perspectives” or as a “toggling” between different rhetorical perspectives. Originality/value Previous research discussed the emergence of spinning and the appearance of the “spin doctor” as a major figure in society in general and fiction in particular. In this article, it is argued that the same is also true for advertising. Mad Men is introduced as a case study about the revival of rhetoric as a major skill and an important perspective in and for our personal, professional and social lives.

AbstractGold Coast beaches oscillate in the cultural imagination between everyday reality and a tourist's paradise of ‘sun, surf and sex’ (Winchester and Everett 2000: 59). While these narratives of selfhood and becoming, egalitarianism and sexual liberation punctuate the media, Gold Coast literary fictions instead reveal the beach as a site of danger, wholly personifying the unknown. Within Amy Barker's Omega Park, Melissa Lucashenko's Steam Pigs, Georgia Savage's The House Tibet and Matthew Condon's Usher and A Night at the Pink Poodle, the beach is a ‘masculine’ space for testing the limit of the coastline and one's own capacity for survival. This article undertakes a close textual analysis of these novels and surveys other Gold Coast fictions alongside spatial analysis of the Gold Coast coastline. These fictions suggest that the Gold Coast is not simply a holiday world or ‘Crime Capital’ in the cultural imagination, but a mythic space with violent memories, opening out onto an infinite horizon of conflict and estrangement.

SCIENCE, RELIGION, AND THE PROTESTANT TRADITION: Retracing the Origins of Conflict by James C. Ungureanu. Pittsburgh, PA: University of Pittsburgh Press, 2019. x + 358 pages. Hardcover; $50.00. ISBN: 9780822945819. *Mythical understandings about historical intersections of Christianity and science have a long history, and persist in our own day. Two American writers are usually cited as the architects of the mythology of inevitable warfare between science and religion: John William Draper (1811-1882) and Andrew Dickson White (1832-1919). Draper was a medical doctor, chemist, and historian. White was an academic (like Draper), a professional historian, and first president of the nonsectarian Cornell University. Ungureanu's objective is to show how Draper and White have been (mis)interpreted and (mis)used by secular critics of Christianity, liberal theists, and historians alike. *Ungureanu opens by critiquing conflict historians as misreading White and Draper. The conflict narrative emerged from arguments within Protestantism from the sixteenth through nineteenth centuries, and, as taken up by Draper and White, was intended not to annihilate religion but to reconcile religion with science. Consequently, the two were not the anti-religious originators of science-versus-religion historiography. Rather, the "warfare thesis" began among sixteenth- and seventeenth-century Protestant historians and theologians attacking both Roman Catholics and each other. By the early nineteenth century, the purpose of conflict polemics was not to crush religion in the name of science but to clear intellectual space for preserving a "purified" and "rational" religion reconciled to science. Widespread beliefs held by liberal Protestant men of science included "progressive" development or evolution in history and nature as found, for example, in books by Lamarck in France and Robert Chambers in Britain. For Draper, English chemist and Unitarian minister Joseph Priestley (1733-1804) was a model of faith without the burden of orthodoxy. *So conflict rhetoric arose not, as we've been taught before, in post-Darwinian controversies, but in contending narratives within generations of earlier Protestant reformers who substituted personal judgment for ecclesial authority. Victorian scientific naturalists and popularizers often rejected Christian theological beliefs in the name of a "natural" undogmatic "religion" (which could slip into varieties of Unitarianism, deism, agnosticism, or pantheism). In effect, the conflict was not between science and religion, but between orthodox Christian faith and progressive or heterodox Christian faith--a conflict between how each saw the relationship between Christian faith and science. Draper, White, and their allies still saw themselves as theists, even Protestant Christians, though as liberal theists calling for a "New Reformation." Given past and present anti-Christian interpretations of these conflict historians with actual religious aims, this is ironic to say the least. *Ungureanu's thesis shouldn't be surprising. In the Introduction to his History of the Warfare, White had written: "My conviction is that Science, though it has evidently conquered Dogmatic Theology based on biblical texts and ancient modes of thought, will go hand in hand with Religion … [i.e.] 'a Power in the universe, not ourselves, which makes for righteousness' [quoting without attribution Matthew Arnold, who had actually written of an 'eternal power']." *As science advanced, so would religion: "the love of God and of our neighbor will steadily grow stronger and stronger" throughout the world. After praising Micah and the Epistle of James, White looked forward "above all" to the growing practice of "the precepts and ideals of the blessed Founder of Christianity himself" (vol. 1, p. xii). Ungureanu quotes White that the "most mistaken of all mistaken ideas" is the "conviction that religion and science are enemies" (p. 71). *This echoed both Draper's belief that "true" religion was consistent with science, and T. H. Huxley's 1859 lecture in which he affirmed that the so-called "antagonism of science and religion" was the "most mischievous" of "miserable superstitions." Indeed, Huxley affirmed that, "true science and true religion are twin-sisters" (p. 191). *Chapter 1 locates Draper in his biographical, religious, and intellectual contexts: for example, the common belief in immutable natural laws; the "new" Protestant historiography expressed in the work of such scientists as Charles Lyell and William Whewell; and various species of evolutionism. Comte de Buffon, Jean Baptiste Lamarck, John Herschel, Thomas Dick, Robert Chambers, and Darwin are some of the many writers whose work Draper used. *Chapter 2 examines White's intellectual development including his quest for "pure and undefiled" religion. He studied Merle d'Aubigné's history of the Reformation (White's personal library on the subject ran to thirty thousand items) and German scholars such as Lessing and Schleiermacher who cast doubt on biblical revelation and theological doctrines, in favor of a "true religion" based on "feeling" and an only-human Jesus. As he worked out his history of religion and science, White also absorbed the liberal theologies of William Ellery Channing, Horace Bushnell, Henry Ward Beecher, and Lyman Abbott, among others. *The resulting histories by Draper and White were providential, progressive, and presentist: providential in that God still "governed" (without interfering in) nature and human history; progressive, even teleological, in that faith was being purified while science grew ever closer to Truth; and presentist in that the superior knowledge of the present could judge the inferiority of the past, without considering historical context. *Chapters 3 and 4 situate Draper and White in wider historiographic/polemical Anglo-American contexts, from the sixteenth-century Reformation to the late nineteenth century. Protestant attacks on Roman Catholic moral and theological corruption were adapted to nineteenth-century histories of religion and science, with science as the solvent that cleansed "true religion" of its irrational accretions. Ungureanu reviews other well-known Christian writers, including Edward Hitchcock, Asa Gray, Joseph Le Conte, and Minot Judson Savage, who sought to accommodate their religious beliefs to evolutionary theories and historical-critical approaches to the Bible. *Chapter 5 offers a fascinating portrait of Edward Livingston Youmans--the American editor with prominent publisher D. Appleton and Popular Science Monthly--and his role in promoting the conflict-reconciliation historiography of Draper and White and the scientific naturalism of Huxley, Herbert Spencer, and John Tyndall. *In chapter 6 and "Conclusions," Ungureanu surveys critics of Draper's and White's work, although he neglects some important Roman Catholic responses. He also carefully analyzes the "liberal Protestant" and "progressive" writers who praised and popularized the Draper-White perspectives. Ungureanu is excellent at showing how later writers--atheists, secularists, and freethinkers--not only blurred distinctions between "religion" and "theology" but also appropriated historical conflict narratives as ideological weapons against any form of Christian belief, indeed any form of religion whatsoever. Ultimately, Ungureanu concludes, the conflict-thesis-leading-to-reconciliation narrative failed. The histories of Draper and White were widely, but wrongly, seen as emphatically demonstrating the triumph of science over theology and religious faith, rather than showing the compatibility of science with a refined and redefined Christianity, as was their actual intention. *Draper's History of the Conflict, from the ancients to the moderns, suggested an impressive historical reading program, as did his publication of A History of the Intellectual Development of Europe (rev. ed., 2 vols., 1875 [1863]). But one looks in vain for footnotes and bibliographies to support his controversial claims. White's two-volume study, however, landed with full scholarly apparatus, including copious footnotes documenting his vivid accounts of science conquering theological belief across the centuries. What Ungureanu doesn't discuss is how shoddy White's scholarship could be: he cherrypicked and misread his primary and secondary sources. His citations were not always accurate, and his accounts were sometimes pure fiction. Despite Ungureanu's recovery of German sources behind White's understanding of history and religion, he does not cite Otto Zöckler's Geschichte der Beziehungen zwischen Theologie und Naturwissenschaft (2 vols., 1877-1879), which, as Bernard Ramm noted in The Christian View of Science and Scripture (1954), served as "a corrective" to White's history. *Ungureanu certainly knows, and refers to some of, the primary sources in the large literature of natural theology. I think he underplays the roles of Victorian natural theologies and theologies of nature in reflecting, mediating, criticizing, and rejecting conflict narratives. Ungureanu seems to assume readers' familiarity with the classic warfare historians. He could have provided more flavor and content by reproducing some of Draper's and White's melodramatic and misleading examples of good scientists supposedly conquering bad theologians. (One of my favorite overwrought quotations is from White, vol. 1, p. 70: "Darwin's Origin of Species had come into the theological world like a plough into an ant-hill. Everywhere those thus rudely awakened … swarmed forth angry and confused.") *Ungureanu's is relevant history. Nineteenth-century myth-laden histories of the "warfare between Christianity and science" provide the intellectual framework for influential twenty-first century "scientific" atheists who have built houses on sand, on misunderstandings of the long, complex and continuing relations between faith/practice/theology and the sciences. *This is fine scholarship, dense, detailed, and documented--with thirty-seven pages of endnotes and a select bibliography of fifty pages. It is also well written, with frequent pauses to review arguments and conclusions, and persuasive. Required reading for historians, this work should also interest nonspecialists curious about the complex origins of the infamous conflict thesis, its ideological uses, and the value of the history of religion for historians of science. *Reviewed by Paul Fayter, who taught the history of Victorian science and theology at the University of Toronto and York University, Toronto. He lives in Hamilton, ON.

Why do females who identify as heterosexual write and/or read male/male erotic fiction? The goal of this paper shall be to highlight one explanation of the appeal this genre holds as a form of entertainment for some, while certainly not all, of its female readers and writers. It will be argued that the key to understanding the genre’s appeal for these women is not the homosexual content of the narratives. Rather, male/male erotic fiction, with its challenge to binary and hierarchical gender roles, is used by them to dabble in privileges traditionally reserved for men and thus as a tool to create quasi-egalitarian experiences for them within a gendered society.

Various modern fictions, building upon the skeptical premises of biblical scholars, have claimed that the gospels covered up the real story about Jesus. Dan Brown’s The Da Vinci Code is one recent, popular example. While conspiracy theories may seem peculiar to modern media, the gospels have their own versions of hidden secrets. For Mark, e.g., Roman discourse about crucifixion obscures two secret plots in Jesus’ passion, which the gospel reveals: the religious leaders’ conspiracy to dispatch Jesus and the hidden divine program to sacrifice Jesus. Mark unveils these secret plots by minimizing the passion’s material details (the details of suffering would glorify Rome), substituting the Jewish leaders for the Romans as the important human actors, interpreting the whole as predicted by scripture and by Jesus, and bathing the whole in an irony that claims that the true reality is other than it seems. The resulting divine providence/conspiracy narrative dooms Jesus—and everyone else—before the story effectively begins. None of this would matter if secret plots and infinite books did not remain to make pawns or “phantoms of us all” (Borges). Thus, in Borges’ “The Gospel According to Mark,” an illiterate rancher family after hearing the gospel for the first time, read to them by a young medical student, crucifies the young man. Eco’s Foucault’s Pendulum is less biblical but equally enthralled by conspiracies that consume their obsessive believers. Borges and Eco differ from Mark, from some scholarship, and from recent popular fiction, in their insistence that such conspiracy tales are not “true” or “divine,” but rather humans’ own self-destructive fictions. Therein lies a different kind of hope than Mark’s, a very human, if very fragile, hope.

Within the Terentian corpus thesenes(‘old men’) Simo (of theAndria) and Chremes (of theHeauton Timorumenos) enjoy an extraordinary understanding of the conventions of Roman comedy. While slaves in Plautine comedy certainly exhibit similar knowledge of their genre's conventions, as do the young men who are allied with them (one thinks of Charinus' prologue to theMercator), Plautinesenesdo not usually share in this awareness. This paper focuses on theAndria'sSimo and theHeauton'sChremes because—despite their unusual generic knowledge, which each man reveals in several metatheatrical remarks—they nevertheless misinterpret their slaves. Indeed, we shall see that both men's knowledge of the character type of the clever slave leads to their belief that they can control the slaves and see through their attempts at deception. However, in the end both men actually deceive themselves because their knowledge leads them to see deceptions where there are none—to interpret truth as a fiction contrived by their slaves. Interestingly, Simo and Chremes have something else in common: they both appear in plays whose prologues feature references to an unnamed opponent of Terence—themaleuolus uetus poeta(‘spiteful old poet’). This individual is alleged to have charged Terence with (1) mixing the plots of multiple Greek comedies together in the composition of his own plays, and (2) accepting the help of powerful friends in the writing of his comedies.

As a major invisible global threat causing unprecedented disruptions and restrictions in daily life all over the world, COVID-19 pandemic has been among the most popular subject matters of contemporary fiction. At this point, the first work of fiction focusing on COVID-19 is Lawrence Wright’s The End of October (2020), in which coronavirus is fictionalised as the Kongoli breaking out in Indonesia and spreading all over the world. Elaborating on the effects of the virus on daily life, Wright puts emphasis on the need for global solidarity to combat the virus and save the global society. However, different from Wright’s work, Christina Sweeney-Baird discusses the issue of pandemic, reinterpreting COVID-19 from a futuristic perspective, envisaging a post-pandemic world order dominated by women, with men’s death due to a lethal virus showing its effects all over the world in her debut novel, The End of Men (2022). In the work, the deaths of Fraser McAlpine, Catherine’s husband, Anthony and the wealthy Mr Tai signify men’s failure in adaptation to circumstances of the pandemic, while women’s survival, the domination of once male-dominated jobs by women, Catherine’s solo impregnation by donor sperm and the use of apps for dating and love just between women embody females as the “fittest species” for survival to bring a new world order dominated by women. Thus, Sweeney-Baird’s work invites reading for the evolutionary transformation of the global society due to a lethal pandemic from male-dominated to female-dominated system with reference to Darwin s theory of evolution.

This paper addresses Geoffrey Leech's (2014) three semantic classifications of apology on The Portrait of a Lady which was written by Henry James. The researchers apparently address Leech’s three semantic classifications and also there are two charts and a statistic table in order to be scientific while answering the preceding assumption about gender differences in apology strategies. Apology strategies sound well-known in Anglophone. In the literature of gender, this paper targets the linguistic politeness and gender to give the readers extra vision by studying the fiction. Moreover, the researchers' purpose in this paper is to address the stereotypical assumption that women used to be politer than men. In order to find out whether these differences in number of utterances by the two groups are statistically significant or not, the researchers have used some statistical tools, namely a (T-test). An analysis of the linguistic politeness and gender can help to deep insight into each character’s personae and experiences in the fiction as well as appreciate the special gist of the fiction as well.

The feminist anthropologist Henrietta Moore has noted that “the interpretation of ‘other cultures’ has often been likened in the anthropological literature to a process of translation.” If one accepts that interpretation and translation are closely linked (though there may be some subtle distinctions to be drawn between them), then the comparison described by Moore may be illustrated with statements from two of the most prominent of anthropological critics in recent years, Clifford Geertz and James Clifford. In his book The Interpretation of Cultures, first published in 1973, Geertz claimed that:anthropological writings are themselves interpretations, and second and third ones to boot. (By definition, only a “native” makes first order ones: it's his culture.) They are, thus, fictions, in the sense that they are “something made,” “something fashioned…”A few years later, in a now similarly influential commentary on figures of and challenges to authority in ethnography, James Clifford declared that “[e]thnography is the interpretation of cultures. Both statements reflect the growing conviction that anthropology is not the objective or even the authoritative science that it once claimed to be. In the essay that follows I want to sketch some of the problems of cultural interpretation and translation in anthropology and to discuss one fascinating attempt to find a responsible solution to the imbalance of power inherent in anthropological representation.Before I turn to this example, Melissa Llewelyn-Davies' film on the Maasai, Memories and Dreams, I need to outline the main arguments that have been made about the status of anthropology. These have focused on the discipline's complicity with colonialism, its male bias, and the ethnocentrism that underlies the claim of scientific objectivity. I shall take each of these points in turn and, though it is important to outline the arguments about, and proposals for, methods and forms of representation, I will consider them only in brief since they have been often discussed in detail elsewhere. Cumulatively, they have contributed to the recognition that “[c]ulture, and our views of ‘it,’ are produced historically, and are actively contested.”

This study is based on the textual analysis of the short stories; The Wedding of Sundri (2008) and Pirani (2006). The study applies the theory of Gendered Otherness by Simon de Beauvoir. This theory highlights women`s position as others, partial and secondary to men. There is no existence of women without the association of men, while, man is the dominant, powerful and decision maker. He takes all decisions of women’s lives. It is in fact the man who makes the life of woman meaningful and purposeful. The findings of the research correspond to the theory that in rural Sindh women are suffering from gendered otherness. They are partial and secondary to men. Women cannot take the decisions of their lives’ as that of Sundri and Pirani. The marital decision of Sundri and Pirani is decided by their fathers without their consent. Women tolerate the violence of men at their home just like Naseema. Due to gendered otherness women are suppressed and marginalized. They never develop the habit of self-expression like Sebhagi and her sister. Women never built self- recognition and identity within the society.

Abstract: This essay examines the relationship between patriarchal culture and Black separatist politics in Toni Morrison’s Paradise . While these two themes are obviously central to the text, they are generally treated as merely contiguous elements of life in Ruby, Morrison’s fictional all-Black town. A close examination of classic Black nationalist discourse, however, reveals that the politics of Black separatism has, from the time of its origin, stemmed from efforts to establish a Black patriarchal order that could stand in opposition to racist institutions and practices that strip the Black man of the patriarchal status enjoyed by white men. I argue that Morrison’s novel exposes this causal relationship between patriarchal culture and Black separatism and the way that it generates within Black nationalist ideology a tendency to hijack, obscure, or even eliminate racial solidarity efforts that are more intersectional, inclusive, and democratic.

Therapists can be seen to have a moral obligation to use their power to work against social injustice. Engaging with the dialogue of privilege and oppression in relation to race is one example of this. Since responses from white people in being named as privileged can sometimes lead to defensiveness and frustration, a challenge is posed in how to respond to this in therapy. This article suggests that understanding the intersectionality of privilege and oppression in all individuals facilitates the opportunity for more nuanced discussion. It proposes that tools such as the Multicultural and Social Justice Counselling Competencies approach could be used to enable clients to explore their own white privilege. A fictional case example of a white, gay man who is HIV (human immunodeficiency virus)-positive is presented and discussed in order to exemplify this proposal.

Climate change has become a major force in shaping human experience. Climate change affects not only the Earth's atmosphere, biospheres, glaciers, and oceans; it also affects our perception of humanity's role in the natural world. While the majority of the grand narratives on climate change is in the hands of scientists, the literary humanities have an important role to play in creating a forum in the English literature classroom for students to read fiction that stimulates critical thinking about climate change, its contexts and history, and the future. This paper examines literary trends that creatively explore and cope with the effects of climate change on society. While several literary genres directly address climate change, this paper will contextualize two examples of climate science fiction - Paulo Bacigalupi's The Water Knife and Octavia Butler's Parable of the Sower – with William Shakespeare's King Lear, Charlotte Brontë's Wuthering Heights, and Mary Shelley's The Last Man. These works address solastalgia, a neologism that describes profound sadness and frustration about irreversible changes to one's home environment and the feeling of powerlessness. Similar to the influential Sturm und Drang (storm and stress) movement in Romantic literature, today's environmental distress and human worries are reflected in genres like science fiction. Climate change fiction enables readers to process alarmist contemporary environmental issues by contextualizing the anxiety-inducing data generated by scientific research with the power of the human imagination and the emotional intelligence of reading fiction.