“A vila, que nunca teve dono, passou a ter um” O coronelismo goiano nu e cru em Herança de Sangue

Colonialism has had a profoundly negative impact on national consciousness. Although the Republic of Kazakhstan has gained independence, it has not yet fully overcome the adverse effects of colonialism on its national consciousness. A portion of the Kazakh people has been Russified. Meanwhile, the younger generation, raised in their native language, either lacks a deep understanding of or is gradually forgetting the foundations of national identity that date back to ancient times. During the Soviet era, communist ideology prevented the population from truly knowing their history, traditions, and beliefs. In this context, literature plays a crucial role in reviving national memory. This article examines the concept of personality in literary works and the uniqueness of national identity based on the works of several contemporary authors. The introduction provides an overview of researchers’ conclusions related to the concept of personality. The ancient origins of national identity—sacred elements, rituals, shamanism, and the mystical connections between humans, nature, and animals—as depicted in literary works are analyzed within the dynamics of the present day, alongside the fates of the characters. The desecration of sacred elements is not merely ignorance but a sign of the erasure of national memory; rituals are not just words but embody sacred concepts accumulated from centuries of the people’s experience, which are reflected in the works. Accordingly, the research article analyzes and provides examples from several literary works. In compiling conclusions about the concept of personality, the study utilized descriptive, biographical, and socio-psychological methods to describe national identity in literary works and its ancient manifestations, as well as the depiction of sacred elements and rituals.

This thesis focuses on Muslim literature, a diverse literature that includes literary works produced in English by Muslim authors of different ethnicities and cultural heritages. Uniquely, it approaches this literature from a religious perspective and concentrates on the religious domain, which has been usually avoided by postcolonial studies examining Muslim literature. Muslim literature is usually analysed from a secular perspective that focuses on highlighting cultural diversity among Muslim authors but sheds limited light on their religious diversity. This secular approach dominates partly because of the limitation of postcolonial theory in relation to Islam, and partly because of the conflict created between Islam and literature by Muslim critics, both secular and religious. In focusing on the religious rather than the cultural domain, I limit the scope of my examination to include only contemporary Muslim writers who have the same ethnicity and similar cultural backgrounds. To be precisely, I concentrate on contemporary British Arab Muslim writers, specifically, Fadia Faqir (1956–, of Jordanian origin) and Leila Aboulela (1964–, of Sudanese and Egyptian origin). I also select Islamic feminism itself as a site of religious diversity. My main objective is to compare and contrast Islamic feminist consciousness as revealed by Aboulela and Faqir, whether explicitly or implicitly, in their fiction that they produced from the 1990s to the 2010s. My aim in comparing and contrasting the Islamic feminism of Aboulela and Faqir is to illustrate my argument that their Islamic feminism varies enormously from a religious perspective. Faqir focuses on giving her female Muslim protagonists a voice and power in order to withstand patriarchal Arab cultural and social traditions and an inherited legal system and doctrinal rules that subvert Muslim women, whereas Aboulela makes the Islamic faith a source of spiritual emancipation that strengthens her female Muslim protagonists internally. This thesis is important because it contributes to expanding existing literary criticism in relation to Muslim literature, which is achieved by exploring the feminist consciousness of Aboulela and Faqir, two contemporary British Arab Muslim authors who emphasise the centrality of Islam in their postcolonial feminist fiction. It is also achieved by using Islamic feminism as a key methodology that provides a better understanding of how Aboulela and Faqir use Islam as a framework for their feminism, what challenges they face in doing so and how they manage to overcome these challenges.

閱讀二十世紀末的台灣小說，猶如閱讀百科全書；我們摸索文本的繁複網絡，我們也逐字、逐句、逐行地進行訊息索隱以及意義連結的工程。在知識爆炸的時代裡，小說內容承載百科全書式的知識訊息，再佐以華麗的文字風格，將之轉化為兼具知性素養與感官刺激的閱讀趣味。新興的思潮、論述以及時下流行的議題大量滲透在小說文本裡，不僅讓台灣當代小說帶有菁英文化的架勢，書寫行為本身也越來越凸顯某種炫耀式的藝術性包裝。對於如何凸顯創作者個人獨特鮮明風格的關注，似乎遠比文本題材、內容、意旨的傳達要來得更為重要。這種對於高層文化頗為自覺性的運作甚至是經過仔細精算後的藝術操演，不僅是展現當代創作者對於文本意義的繁複性創造，更是凸顯了這種精緻文學本身可以帶來的區隔異己的象徵性資本。解嚴後台灣社會風氣的活潑開放、文化生活的多元豐富，讓當代社會逐漸導向某種追求高層文化品味的風氣。當代小說表現在藝術形式上的變革，充分體現文本內在藝術特質與外在文化生產環境的互動關係。台灣當代小說家普遍善用新的、世界性知識潮流裡的象徵符碼，來創造、提升其文學作品的象徵資本與文學位階，這種「秀異」（表現自我的優秀以及自我與他人之間的區隔差異）的文化心態是刺激九○年代小說走向「類菁英」美學品味的重要關鍵。

Moanggo , an oral literature of Tolaki people is currently at risk of being wiped out as it is now only rarely played at traditional wedding ceremonies in Tolaki. It is among the identity markers of Tolaki people loaded with messages for private, family and social lives. On this basis, this study aims to (1) Describe the meaning contained in Moanggo as a local literature of Tolaki people. (2) Describe the values contained in Moanggo as a traditional oral literature of Tolaki people. This research is a qualitative descriptive study. To achieve the objectives, this study applies the theoretical framework of Paul Ricœur’s hermeneutics. Data sources to be examined in this investigation comprise some informants and the Anggo text itself. The data are also obtained from observations, interviews and documents. The data are then analyzed using Milles and Huberman’s technical data analysis, namely: 1) Data collection, 2) Data reduction or simplification of data, 3) Presentation of data, and 4) inference / verification. The results indicate that the meaning of the Anggo text in oral narrative of Moanggo cannot be separated from the socio-historical cultural context when it is narrated. Therefore, every text has been linked with the socio-cultural context of Tolaki people at present time, and it is of course a representation of the history of life of Tolaki people in the past. The values contained in the Anggo text comprise the value of education, moral values, cultural values and philosophical values. Moanggo as an oral literature of Tolaki people is an identity marker for Tolaki people, and it is presently at risk of extinction due to its lack of use in wedding customs and other cultural activities. Therefore, the preservation of the oral literature Moanggo needs to be maintained by both the government and the Tolaki society.

The geographical approach to the interdisciplinary field of Night Studies cannot ignore the perspectives offered by literary geographies. The cultural images of the night and the influences that darkness has on the perception of spaces, in fact, are mirrored in the important repertories provided by literature. The essay aims at offering an overview of typologies of representations of literary nocturnal environments, trying to sketch a possible classification of the “literary geographies of the night”. In the first two paragraphs a contextual epistemological frame of interpretation is provided, situating the cultural approach to darkscapes adopted by the authors. In the third paragraph, a series of examples taken by literature exemplify the potential literary contributions to geographical Night Studies. Literary examples include, among others, the works by Pier Paolo Pasolini (such as The Street Kids, 1955, where the night in the park of Villa Borghese in Rome assumes the role of a spatial-temporal suspension), the nocturnal topographies of the short novel Neither Here Nor Elsewhere. A Night in Bari by Gianrico Carofiglio (2008), the works by contemporary authors such as Paolo Morelli (Tale of the river Sangro, 2013). Giorgio Vasta (Displacement, 2010) and Marco Malvaldi (Tower in check, 2015).

Modernist Titans and Postmodernist Mythobiografiction Monica Latham (bio) The semantics of the neologism “biofiction” clearly indicates that biography and fiction, truth and untruth, veracity and imagination, are brought together in an oxymoronic literary work. Yet, the straightforward composition of this portmanteau word may mislead us into thinking that such literary productions are mere juxtapositions of authentic facts and fanciful events; in practice, biofictional works display complex interactions between biography and fiction, as well as carefully considered transfers that are operated from one to the other. Such cross-fertilization produces unique, trans-generic, hybrid blends and offers immense potentialities to ingenious contemporary writers who choose to narrate the imaginary lives of real people. Biofiction is nowadays a flourishing literary genre growing on extremely fertile ground, at both production and reception levels. The unbound creativity of these authors is matched by the general public’s avid consumption of such literary products, by the critical recognition and by the increasing scholarly attention bestowed on this ever-evolving genre. Contemporary authors are usually haunted and inspired by those predecessors whose lives and works have produced a lasting impression on them and left an imprint on their own production. Among the major literary figures of the twentieth century who have stirred such ardent devotion and have captivated imaginations, three solid pillars of modernism, Virginia Woolf (1882–1941), Katherine Mansfield (1888–1923) and D. H. Lawrence (1885–1930), continue to exert a formidable fascination today. These influential, prolific modernist “titans,” almost a century after their deaths, are widely considered as outstanding innovators who “made it new” and left to posterity many literary works that have become classics. In their times, they not only cast off literary conventions, but also revolted against rigid social rules and oppressive cultural norms. They had the courage to write freely, against the grain, and lived according to their profound beliefs, establishing physical and emotional relationships with men and women who aroused passions in them and made them feel alive. In popular imagination, Virginia Woolf is often pictured as the mad, tormented genius who struggled with mental health all her life until she finally committed suicide at fifty-nine. Katherine Mansfield, an outsider and a figure of contradictions, had numerous turbulent love affairs and was entangled in lies and intrigue until her death at the age of thirty-five. She is often represented as an extravagant woman who fully lived her life despite suffering from tuberculosis. D. H. Lawrence was close to Mansfield until their friendship ended in acrimony. He was a mystical figure as well as a controversial author whose writing was deemed crude and pornographic by his contemporaries. Like Mansfield, he died prematurely of tuberculosis at forty-four. In their time, all three lifestyles and writing styles triggered controversies and provoked scandals. Their anguished lives and tragic deaths provide interesting material for adventurous, exciting, extraordinary fictional lives in contemporary works in which Woolf, Mansfield and Lawrence become out-of-the-ordinary characters. Despite their outstanding literary achievements, there is a persistent temptation for creative writers to focus on these titans’ personal weaknesses and terrible deaths, and they are often portrayed as victims, martyrs, or suffering beings courageously battling their illnesses, patriarchal oppression, public and critical opinions in order to express their creative visions. Like mythological heroes, these literary characters are undoubtedly endowed with power and greatness, but they also have flaws which bring about their downfall. After the solemn declaration of the “death of the author” by Roland Barthes in the late 1960s, many creative writers have endeavoured to resuscitate larger-than-life authorial figures and stage them in worlds in which they might have lived and pursued their arts. There has indeed been an abundance and rich variety of such literary works on the literary market: Michael Cunningham’s The Hours (1998), Sigrid Nunez’s Mitz, The Marmoset of Bloomsbury (1998), Gillian Freeman’s But Nobody Lives in Bloomsbury (2006), Susan Sellers’s Vanessa and Virginia (2008), Norah Vincent’s Adeline: A Novel of Virginia Woolf (2015), Janice Kulyk Keefer’s Thieves: A Novel of Katherine Mansfield (2004), C. K. Stead’s Mansfield: A Novel (2004), Linda Lappin’s Katherine’s Wish (2008), Lorae Parry’s Bloomsbury Women and...

The knowledge of bygone times of a nation and the discovery of the way through which their thought and culture and civilization developed throughout ages, are of great important for the next generations of that nation and their success in future ways of development. Unquestionably, the literary works contain the greatest part of the cultural and mental products and legacy of a nation and deserve a deep investigation for the above mentioned purpose. As so far the Persian literary works-although in Arabic-specially in the fields of education and ethics disclose their brilliant thought and culture this article deals with one of the most famous and valuable Persian works, those of Tha'alibi to find the charming beauty of axioms in his works. Similar quotations of his contemporary authors are mentioned. Key words: Tha’alibi, axiom, beauty ,meaning .

Traces de terre, traces d'encre... La rappresentazione dello spazio nella letteratura caraibica. (Francofona e Anglofona)

The analysis of the neologisms and nonce words (occasionalisms) of the Ukrainian standard language formation in the 19th century in Halychyna is conducted in the article. The topic is based on the lingual sources and material of “Lirvak znad Sianu” 1850 and “Peremyshlanyn” which printed in 1850-1964. Presented neologisms were innovative attempts at linguistic and literary work of contemporary Galician authors, designed to replenish and expand their vocabulary. From the perspective of today, these words are not entrenched in active use, but neologisms became an important step in the creation of a new Ukrainian literary language, and some of them could re-enter the active consumption in modern Ukrainian literary language.

The transnational circulation of contemporary literary fiction depends upon a multifaceted set of organizational developments which implicate publishing in global trends in capital and media concentration and in market expansion in the content and trademark industries. It also entails a series of value-regulating mechanisms that shape our ways of reckoning with the products available to us within this complex and shifting system. James F. English and John Frow group such mechanisms within the ‘the literary-value industry’, defined as ‘the whole set of individuals and groups and institutions involved not in producing contemporary fiction as such but in producing the reputations and status positions of contemporary works and authors, situating them on various scales of worth’.1 Agents involved in this process include prize adjudicators, syllabus-makers and list-makers, book-club participants, librarians, theorists, and journalists. In what follows, I draw attention to some of the features of value regulation within the field of postcolonial literary production as I see it. My specific interest is in thinking about how the mechanisms of evaluation at work within this system influence writers’ self-understandings, so that it becomes increasingly problematic to separate out and distinguish among their literature’s content, its availability for transnational product circulation, and its relative consecration as a valued work.2

Cet article étudie les enjeux économiques que représente pour l’entreprise le droit à la protection de la vie personnelle des salariés, en adoptant le point de vue d’un économiste. Une réflexion préalable sur la notion de vie privée s’impose, puisque le concept de vie personnelle en découle principalement. Une définition originale de celui-ci est proposée, en termes de logiques de maîtrise informationnelle sur les données personnelles et d’autodétermination. Une analyse économique du droit au respect de la vie personnelle conduit à le considérer comme une source d’asymétries informationnelles lors du recrutement ainsi qu’à l’étape post-contractuelle. Toutefois, il peut s’avérer propice aux motivations autorégulées qui permettent de hauts niveaux d’implication et de créativité pour les salariés. Le cadre juridique français est exposé de manière synthétique puis est analysé de manière critique, à l’aune des divers enjeux présents, tant du point de vue de l’efficacité économique des entreprises que de la défense du droit à la vie personnelle des salariés.

What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously.This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing.Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the storyA Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period.As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.

When histories of Victorian literary studies in the twentieth century come to be written, how will they represent the rise of domesticity as the boom topic of the late 1980s and early 1990s? This was the period of strong feminist consolidation in the humanities academy, and the accompanying resurgence of historicism in English studies. The two groundbreaking studies of Victorian domestic ideology--Nancy Armstrong's Desire and Domestic Fiction (1987), and Mary Poovey's Uneven Developments (1988)--both placed women's domestic experience at the very centre of Victorian culture and politics, and at the very centre of a set of ambitious new interpretive procedures in which literary criticism appropriated history, viewing novels and other literary works as privileged points of entry into past cultures. In this new critical practice, domesticity was able to perform a powerful double function: it offered readers radical insights into the Victorian age; and it helped to legitimize its own methods, offering an implicit parallel between the private domestic realm and the literary work, on the one hand, and the public political realm and conventional "public" historical sources on the other. This can be seen in Armstrong's influential arguments: that domestic fiction was crucial to the regulation of social behaviour because it formulated the home as a disciplinary space where private life was distinct from social life and sexuality divorced from political history; and that the controlling idea of the separate spheres functioned principally as a way of displacing divisions of class into divisions of gender.

When histories of Victorian literary studies in the twentieth century come to be written, how will they represent the rise of domesticity as the boom topic of the late 1980s and early 1990s? This was the period of strong feminist consolidation in the humanities academy, and the accompanying resurgence of historicism in English studies. The two groundbreaking studies of Victorian domestic ideology--Nancy Armstrong's Desire and Domestic Fiction (1987), and Mary Poovey's Uneven Developments (1988)--both placed women's domestic experience at the very centre of Victorian culture and politics, and at the very centre of a set of ambitious new interpretive procedures in which literary criticism appropriated history, viewing novels and other literary works as privileged points of entry into past cultures. In this new critical practice, domesticity was able to perform a powerful double function: it offered readers radical insights into the Victorian age; and it helped to legitimize its own methods, offering an implicit parallel between the private domestic realm and the literary work, on the one hand, and the public political realm and conventional "public" historical sources on the other. This can be seen in Armstrong's influential arguments: that domestic fiction was crucial to the regulation of social behaviour because it formulated the home as a disciplinary space where private life was distinct from social life and sexuality divorced from political history; and that the controlling idea of the separate spheres functioned principally as a way of displacing divisions of class into divisions of gender.

Com este artigo propomos uma reflexão sobre o camponês caatingueiro em sua dimensão geográfica. Essa abordagem está fundamentada em aspectos culturais, políticos, econômicos e sociais, de modo a apresentar elementos que caracterizem e diferenciem o camponês caatingueiro do sertanejo descrito ou apontado pela literatura clássica (CUNHA, 1991) e por autores contemporâneos, como é o caso de Brandão (2009). Ao longo do processo histórico as abordagens sobre o Sertão e os sertanejos foram caracterizadas por uma homogeneidade político-cultural sustentada por discursos e políticas públicas que tratam os camponeses de diferentes regiões do Brasil como se de fato existisse apenas um único in-dividuum sertanejo, similar à figura do “Jeca Tatu” descrito por Monteiro Lobato. Intenta-se, a partir da relação entre a teoria e a empiria, buscar ir além dos aprioris, demonstrando que esse sujeito social produz território e é produzido por ele. Seus valores, práticas sócio-culturais e visões de mundo exercem forte influência em sua forma de organização social e em sua relação com o seu lugar de vivência, nesse caso, o Semi-árido. Os projetos desenvolvimentistas pensados para essa fração do território nacional são pautados na contradição atraso versus modernidade, ou ainda seca versus disponibilidade de água como elementos fundantes para justificar as políticas de desenvolvimento regional/territorial.
 
 Abstract
 
 CAATINGUEIRO PEASANT: REFLEXIONS ABOUT OF THE PEASANTRY IN THE BRAZILIAN SEMI-ARID
 
 With this article we propose a reflection on the peasant caatingueiro in its geographical dimension. This approach is based on the cultural, political, economic and social aspects, in order to provide elements that characterize and differentiate the peasant caatingueiro described the backcountry or appointed by the classical literature (Cunha, 1991) and by contemporary authors, as is the case of Brandão (2009). Along the historical process approaches to the Sertão and the backwoodsmen were characterized by a homogeneous political and cultural discourses and supported by public policies that deal with farmers from different regions of Brazil as if it existed only in a single-dividuum backcountry, similar the figure of “Jeca Tatu” described by Monteiro Lobato. It seeks, from the relationship between theory and empiricism, seeking to go beyond the a priori, showing that the social subject area produces and is produced by him. Their values, socio-cultural practices and worldviews exert a strong influence on their form of social organization and their relationship with their place of living, in this case, the semi-arid. The development projects designed for the fraction of the country are guided by the contradiction delay versus modernity, or dry versus water availability as foundational elements to justify policies of regional development / planning.