Plays and Fragments: Antigone, Film, Modernity

This research examines the use of taboo language in the film Uncut Gems, focusing on identifying the types of taboo language and their functions. Using a descriptive qualitative approach, the study analyzes linguistic features within the film. The findings reveal four types of taboo language: vulgarity (69 occurrences, 61%), epithet (30 occurrences, 26%), obscenity (12 occurrences, 10%), and profanity (3 occurrences, 3%). Each type serves distinct functions in the narrative, including being provocative, showing contempt, drawing attention, and mocking authority. The most frequent function was provocation (65 occurrences, 61%), followed by showing contempt (23 occurrences, 21%), drawing attention (19 occurrences, 17%), and mocking authority (1 occurrence, 1%). Taboo language plays a crucial role in intensifying the film's emotional impact and enhancing the portrayal of complex social dynamics. This study contributes to understanding how language in film serves as a tool for narrative depth and audience engagement, offering insights into the interplay between language, story, and social context in cinema.

The purpose of the article. The study considers film adaptation as a way of interpreting a literary text written for stage production by means of cinematography. The article focuses on the role of the director, his own vision of events and characters in the process of transcoding a work of art into the language of cinema. The features of the dramatic text (monologues, dialogues, author’s remarks, description of characters, division of the work into scenes and acts), the means by which the dramatic work affects the viewer/recipient are highlighted. The article, based on the works of William Shakespeare “Macbeth” and Sophocles “Oedipus the King”, examines the originality of the transformation of a dramatic text into the language of cinema. The article outlines the theoretical basis of film poetry, which allowed directors and screenwriters to practically embody the film adaptation of stage drama. The results of the study showed that the dramatic text and its film interpretation indicate the author’s and director’s reception. The methodology. The author uses analysis (theoretical works on screenwriting and directing, research in the field of art history), observation (the creative process in cinema), comparison (the literary source and the finished film), systematization (techniques for transforming the dramatic literary source into a screen work), modeling the principles of directing and script. The results of the research can be used in educational programs of art universities and creative workshops, as well as in the practical work of directors, screenwriters, cultural scientists, and art historians. The paper provides examples that form the basis for practical principles that can help in creating film adaptations based on plays. The scientific novelty lies in the fact that the study represents a unique scientific contribution, carrying out a thorough study of the process of transforming a dramatic work into a film script. It is important to note that this research goes beyond the script, delving into the essence of the director’s vision. It provides for a comprehensive understanding and systematization of various directing techniques used throughout the entire film adaptation process.

This thesis contains a description of the creation of installation art with the title Exploration of FSRD ISI Denpasar Park in Installation Art. Based on the experience gained while studying at ISI Denpasar. By practicing sensitivity in his work, the author conducts exploration in the garden of FSRD ISI Denpasar in order to explore ideas and get material for discussion in the creation of installation art. This creation uses the Warih Wisatsana creation method as a writer and curator of fine arts, starting with basic research, exploration, experiments or sketches, embodiment, and dissemination. It takes exploration of in-person interviews to create conceptual installation art. The materials used in this creation are cloth, by adopting the Balinese wastra concept and adding color strokes to the cloth. The technique used in the installation art is assembling by arranging materials into other materials, with a length of 270 meters of cloth stretching in the garden of FSRD ISI Denpasar. The response from nature makes this installation art will produce significant changes. In addition, this installation art work has been responded by ISI Denpasar students by adding materials that have been prepared, so the creation of this installation art is included in participatory art because of the intervention of other people in the installation art. In the end, it can be concluded that art is not only enjoyed with a pair of disembodied eyes, art is also able to bring the audience involved in it.

In August 1968, the editors of Cahiers du cinema called for ‘revolution in and through the cinema’ — a feeling echoed by the radical film groups which emerged in the wake of the evenements. Ambitious claims were made for changes in modes of production, distribution and exhibition of films in France and the structures of the French film industry (and particularly the CNC), for a radical shift in the status of film from commodity to political weapon as well as work of art, for a drastic re-thinking of the relationship between films and their ‘alienated’ spectators, for a challenge to individual authorship and a move to collective work, and for a new film language — in short, in the notorious words of Jean-Luc Godard, to ‘make politically a political cinema’. Equally important, and of international resonance, were the profoundly new directions taken by the discourses about the cinema initiated in France around 1968. As Sylvia Harvey put it in her monograph May 68 and Film Culture (published in 1978), ‘the landscape of film studies in Britain and in the United States has been transformed by post-68 developments in French film theory’.

ABSTRACTThe Zimbabwean political landscape has provided fertile ground for the breeding of very interesting linguistic as well as discursive expressions. These linguistic expressions to some extent signify socio-political dementia of the populace as reflected in the political and behavioural acts of the same in the negotiation for political and socio-cultural space in the country. The political realities in Zimbabwe, especially from 2013 to present, has clearly marked the landscape as a theatre, where political players and their institutions, illustriously use language to onion-peel-off the socio-political drama and cultural realities for historians to document, political scientists to analyse, journalists to report, the povo to debate and academics to study. Using semiotics, the paper dissects one instance of this linguistic inventive; what has now become a popular expression, ‘munhu wese kuna amai’ (Everyone should go to the mother), among the many, in the Zimbabwean socio-political performance from which various ideological, historical and cultural realities are presented. The paper further argues that such expressions are strategies which reflect efforts by ZANU (PF) to declare, define, demarcate, command, propagate as well as express socio-political and cultural dogmas the populace should adhere to.

This chapter compares several Disney exhibits—particularly those narrativizing technological innovation—to immersive installation artwork in order to explore the importance of narrative and textual reference in creating powerful immersive installations as presentation of technological and scientific knowledge through multiple media. The narrative craft of exhibits such as the Ford Magic Skyway and GE Carousel of Progress, which Disney created for the 1964-65 World's Fair in New York, are compared to works within the genre of installation art, which has developed greatly since the 1960s. Similar to Disney, many artists have deployed immersive installation art exhibits to envelop audiences in a detailed aesthetic and conceptual narrative. Some educational institutions have also used experiential education installations, especially for teaching scientific concepts.

To discuss several qualities as well as the influence ‘Red Songs’ had on education, realism promotion and cultural development in general of Yanan Period. During the Yan’an Period ‘Red Songs” were not merely songs; they have been weapons transforming political and cultural reality. The songs were also a tool for disseminating good communist ideas and encouraging feelings of patriotism, as well influencing realization inspiration values culture in the collective consciousness building; through their integration into education. Nevertheless, it should be clarified that if “Red Songs” were unifying in nature then there are reasons to believe those scripts had been associated with periods of upheaval later on especially period such as the Cultural Revolution which was divisive and deeply devastating for Chinese society. Embedded in the history of Chinese modernity, a series of social mobilisations has been implemented. Nonetheless, many of these initiatives have failed as a result the narrow focus on the intended audience and one-dimensional approach. There were significant achievements during the success of CCP revolution in mobilising society through red songs pf Yan ‘an era. It comes out of integration between theoretical Marxist conception applied to a given situation and the useful lessons drawn from former outcomes.

The ‘second wave’ of war crimes trials in the Soviet Union in the 1960s led to the re-emergence of trial documentaries. This article examines how trial films made in the Lithuanian Soviet Socialist Republic represented the history of Soviet post-war justice and portrayed both Nazi collaborators and their Jewish victims. The article not only explores the production process of these documentaries by presenting the political, social and cinematic contexts of their creation, but also discusses their cinematic language, the process of censorship, the prescribed ideological function, and (albeit limited) the reception. It demonstrates that these documentaries, even if commissioned by the highest state authorities, managed to manoeuvre between the official representation of the history of the Second World War, the personal war experiences of the filmmakers, and their artistic skills of filmmaking. This article shows how the categories of law, cinema and the Holocaust were interrelated in Soviet Lithuania during the Thaw.

Introduction \an Wojcik-Andrews Cinema and narrative became related areas of study, roughly speaking, in the 1960s, 70s, and early 80s with the work of critics such as Christian Metz, Peter Wollen and Stephen Heath. Metz's Film Language: A Semiotics of the Cinema (1974), contains essays from the 1960s, in particular the famous "Le cinema: langue ou langage." Wollen's use of Propp's "functions" and "spheres of action" to analyze Hitchcock's North by Northwest was originally published in 1976. Heath's Questions of Cinema, which contains the influential chapter "Narrative Space," was published in 1981. This issue of JNT: Journal of Narrative Theory develops further the work of these aforementioned critics by situating what Metz calls "fiction films" (94) in a wide variety of theoretical, social, cultural, and political contexts, each of which is informed by cinema and narrative studies. Lisa Botshon's fine lead essay details the struggles faced by Jewish immigrants in early 20th century America and the filmic representations of those struggles in Samuel Goldwyn's not particularly successful adaptation of Jewish immigrant author Anzia Yezierska's collection of short stories , Hungry Hearts. Botshon's nuanced essay quickly moves beyond a straightforward discussion of how Goldwyn adapted Yezierska's work. Botshon points out the contradictions and ambivalences experienced by Jewish immigrants but also Americans who, in the 1920s, felt uneasy about "immigrant entry and assimilation" and thus turned to film as a way of resolving that unease. Cinema in this argument functions therapeutiJNT : Journal of Narrative Theory 30.3 (Fall 2000): 283-286. Copyright © 2000 by JNT: Journal of Narrative Theory. 284 j N T cally. It's film narratives serve as mechanisms for the resolution of cultural conflict. If Botshon's article deftly finds its way around the intersections of cinema , culture, and narrative, and thus avoids the pitfalls of discussing adaptation theory merely in terms of what Dudley Andrew calls "fidelity and transformation" (100), Dean DeFino, drawing on the work of Sergei Eisenstein and Walter Benjamin, moves in a slightly different, though ultimately related, direction—the detective story and its evolution from the silent era to the world of sound. Specifically, DeFino considers Howard Hawks's 1946 adaptation of Raymond Chandler's first novel, The Big Sleep (1939), as an example of how the "hard-boiled detective fiction genre" revises the "underlying illusions of suspense, psychology, and morality created in 1915" by D.W. Griffith's filmic narrative The Birth of a Nation. Abby CoykendalPs superlative essay "Bodies Cinematic, Bodies Politic" takes another turn and interrogates the "common assumption that the sadistic, cinematic gaze is necessarily a male gaze." Coykendall questions this assumption by examining the films of Brian De Palma such as Sisters (1973), Carrie (1976), Blow Out (1981), and Body Double (1984). In particular, Coykendall reads Carrie through Freud, Lacan, and Mulvey. The result is a essay that suggests a useful revision of the relationship between cinema and narrative. The two concluding essays in this special issue of the JNT, "Asian American Transnationalism in John Woo's Bullet in the Head," and "Hong Kong Blue: Flâneurie with the Camera's Eye in a Phantasmagoric Global City," by Karen Chow and Tsung-yi Huang respectively, place traditional Western cinematic and narrative conventions in a global context —specifically the hybrid cultural space of late 20th century Hong Kong. Chow sees Bullet in the Head as "Woo's closest nod to socio-political commentary on the state of Hong Kong in the late 1980s and early 1990s." Bullet in the Head functions, in other words, as social allegory. The pursuit of wealth (in the form of gold leaves) that unites Woo's central characters at the same time destroys their friendship. His film chronicles their journey from Hong Kong to Saigon and back again during the 1960s and functions as an oblique commentary on the return of Hong Kong to China in the 1990s. According to Chow, the film "addresses the ambivalence introduction 285 Hong Kong people experienced as a result of Hong Kong's emergence in the 1960s and 1970s as a global financial capital in which American commodity culture threatened to shatter traditional bonds of family, friendship, and community." Bullet...

Art is basically created through experience, whether personal experience, other people's, socio-cultural environment, politics or religion. Art becomes a medium for artists to express ideas, concepts, from experiences felt, which are manifested in a beautiful and meaningful work of art. Along with the development of the times, art also develops. This means that the development of art is something that cannot be avoided. Likewise in the Jagratara installation artwork, with the use of technology, this Jagratara installation artwork is present as a new color in the world of art. This installation artwork is inseparable from the results of several methods carried out by the creator, including the recycle method and the exploration method. The Recycle method is a process of turning used materials into new materials with the aim of preventing waste that can actually be something of artistic value, while the media exploration method is a method as a medium to express the potential and creativity of the compiler. Basically, this method is used as an ability to find, create, redesign, and combine new or old things or ideas into new combinations of various mediums, techniques, ideas and personal interpretations in depicting the reality chosen to be visualized. Jagratara comes from Sanskrit which means always alert. The word always be alert is often heard when signs of danger begin to appear. Always be alert is a reminder sentence that is often said when danger is coming. This installation artwork is present with the aim of being a reminder and reflection on the negative impacts of plastic use, especially for marine ecosystems.

GBS_insertPreviewButtonPopup('ISBN:9781902930367); The question 'who are we?' continues to perplex many Scots today. The 100 short essays in this book help to expand the debate and provide at least some of the answers. They offer an opportunity to penetrate behind the statistical surveys and explore the rich complexity of changing identity from a varied range of opinion. The collection includes the views of people at the centre of things as well as those at the margins of society, the famous as well as the not so well known, the authoritative and mainstream as well as the idiosyncratic. It also contains a few views 'from the outside', from North America, Europe and elsewhere. It examines the concept and experience of being Scottish at this time in history and assesses its relevance, strengths, advantages and weaknesses. It seeks to discover whether there is a special something which makes the Scottish distinctive and immediately recognisable and, if so, attempts to describe it. In short it is a snapshot of Scottish identity or, as seems to the case, the myriad Scottish identities that exist today. Contemporary events and developments in the British Isles and the world provide the general political and social context of this collection. These include: The state of the Union Devolution The rise of English nationalism and the implications for Scotland The debate about future British political and economic sovereignty and its relevance to Scotland The lingering after-effects of the loss of Empire with its resultant crisis of identity for Scotland, a nation which played a key role in the imperial project The new global world order based on the USA-declared war against terrorism in the aftermath of the events of 11 September 2001 However the contributors succeed in going beyond the social and political context and explore above all what it means personally to be Scottish. The reader may be surprised at the insights contained in this book. Some contributors delve into their personal histories or their sense of place to give meaning to their identities. Others deal in political and cultural realities, and many rely on storytelling, humour and lyricism to approach a tentative sense of identity upwind. Honesty, courage and humour are not lacking in these stories, which give us the chance to reflect on the experience of being Scottish in the opening years of the 21st century. Includes contributions from: Leila Aboulela Craig Brown Tam Dalyell Isla Dewar Donald Findlay Tom Hunter Charles Kennedy Phyllida Law Helen Liddell Bridget McConnell Jack McConnell Margo MacDonald Sheila McLean David McLetchie Bashir Maan Hugh Pennington Susan Rice Alex Salmond T. C. Smout David Steel John Swinney David Steel Gregor Townsend Jim Wallace Irvine Welsh "

Reviewed by: Shiʿi Islam and Sufism by Denis Hermann and Mathieu Terrier Brian Welter Shiʿi Islam and Sufism, by Denis Hermann and Mathieu Terrier, 2020. London: I.B. Tauris, xviii + 369 pp, £22.49. isbn: 978-0755 60 2308. This collection of essays traces the fascinating history and varied expressions of Sufism within Shi'i Islam. Shi'i Islam itself follows a range of practices across many regions. The book's authors mostly focus on the late Middle Ages to the present, with frequent references to the roots of both Shi'i Islam and Sufism in the earliest years of Islam. While much of this development centres on Persia from the Safavid period onwards, groups in modern-day Pakistan, India, Turkey, and the Arab world also contributed to Shi'i Sufi orders. Related political, social, and cultural realities are repeatedly discussed, whereas the religious dimension of Sufism within Shi'i Islam is not fully covered because key Sufi practices and beliefs are not for the general public. The main point of the various essays is that Shi'i Islam and Sufism did not always enjoy fruitful or cordial relations, though Shi'i Sufism grew notably in Iran and elsewhere during the period under consideration. Part One, "Alternatives to Anti-Sufi Discourse in Pre-Modern and Modern Shi'i Literature," centres the discussion on the religious reforms of Safavid Iran (1502-1722). Hermann and Terrier in their Introduction show that Sufi relationships with Shi'i Islam and the Safavids varied greatly, with initial "violent hostility towards Sufism, whose charismatic leaders were regarded as rivals and represented a potential threat" (8). Like the other authors in Shi'i Islam and Sufism, Hermann and Terrier highlight nuance: "Henceforth, 'Sufi policy' within the realm would oscillate between repression and accommodation, depending on how inclined the various Sufi groups were to recognise the spiritual and temporal authority of the Shāh" (8). Such attention to nuance--to changing or unstable religious, political, and cultural landscapes--is a strength of the book. No easy generalisations are offered, and readers will [End Page 251] come to see that both Shi'ism and Sufism were integral parts of a much larger and very dynamic picture. Political and Sufi leaders, growing Shi'i religious practices and beliefs, and expansion of Sufi brotherhoods all exerted influence on each other. Part of the flux, as we see in Terrier's Chapter 1, "The Defence of Sufism among Twelver Shiʿi Scholars of Early Modern and Modern Times," was that Shi'i scholars could not decide whether to accept Sufism as part and parcel of their beliefs, or reject it "for being a 'condemnable innovation'" (27). An individual's answer to this question depended on whether, for example, one followed "the tradition of reconciliation" between Shi'ism and Sufism (28). However, individuals such as ʿAli al-Karaki (d. 1534) rejected mystical and philosophical forms of Shi'ism, which led to a rejection of Sufism. Readers get the feeling that the Shi'a-Sufi relationship was never solidified either in the direction of total acceptance nor total rejection. Terrier evaluates four "ecumenist" works from the period, including that of Sayyid Haydar Amuli, who advocated reconciliation. Part Two, "The Social History of a Shiʿi Sufi Brotherhood: The Niʿmat Allāhiya," provides a fascinating historical, cultural, and social account of the religious beliefs and practices, as well as the expansion of, a significant Sufi Shi'i order. Speziale's discussion of "the Shi'itisation of the Niʿmat Allāhī branch of Hyderabad" in chapter four gives readers a clear idea of how Shi'i beliefs and practices influenced Sunni religious life in Persia in the Safavid period, though the chapter also traces the order's spread into India's Deccan plateau. The Safavid influence was all-encompassing: "If the Safavid ... attitude towards Sufism, which was most often adverse, did not determine the disappearance of the order in Iran, however, it did lead to its adaptation to the new political and social context and to the redefinition of the religious and spiritual authority of the masters' order in Iran" (158). Hyderabad's Islamic community, unlike Safavid Iran, was majority Sunni, but...

126Reviews narratives as complements of each other, paying close attention to the information that each narrative represses and reveals. Elizabeth Keckley's Behind the Scenes; or, Thirty Years a Slave, and Four Years in the White House (1868), Kate Drumgoold's A Slave Girl's Story (1898) and Julia A. J. Foote's A Brand Plucked from the Fire: An Autobiographical Sketch (1 879, 1886) disclose individual and familial memories of slavery; displaced and repressed anger; the construction of good and bad, black and white maternal imagoes; and mourning. Fleischner contends that Keckley's preoccupation with materialism is her attempt to distance herself from the legacies of slavery as well as from mourning the loss of her mother. Her title "behind the scenes" not only indicates her relationship as seamstress and confidante to Mary Todd Lincoln, but also represents the repressed scenes of slavery which Keckley fervently attempts to ignore, or whose significance she attempts to downplay. Fleischner contends that mourning is as endemic to Drumgoold's narrative as it is to Keckley's. Drumgoold's early loss of her mother and placement in her mistress' home manifests itself in Drumgoold's conception of herself as a "sickly slave." Foote, too, must contend with the loss of mother when she is hired out as an indentured servant to a white family, and she realizes that her mother fails, or is unwilling, to protect her from being beat by the white woman for whom she works. The legacies of slavery and the complicated relations of white surrogate mother to the black child/woman are thus highlighted in both Drumgoold's and Foote's narratives. Where Drumgoold seeks acceptance by the dominant culture by constructing her white mistress as the "ideal" mother, Foote's rejection of the white mistress as maternal imago does not suggest that she regards her mother as the "ideal" maternal imago. Fleischner argues that Keckley's, Drumgoold's, and Foote's texts are similar in the ways that their narratives must somehow contend with the loss and recovery of the maternal imago. So rich are the possibilities that Fleischner mines in each of her readings that one could wish for a work devoted entirely to a psychoanalytic reading of any one of these texts. Nonetheless, Fleischner breaks open the taboo on psychoanalysis and slave narratives, thereby providing a rich foundation for future scholarly pursuits. The George Washington UniversityMichèle L. Simms-Burton Walsh, Richard. Novel Arguments: Reading Innovative American Fiction . New York: Cambridge Univ. Press, 1995. 179 pp. Cloth: $54.95. Criticism habitually asserts the unity of form and content; critical practice habitually divides fhem. In that sense, E. E. Cummings' novel arithmetic Studies in American Fiction127 for lovers, "one's not halftwo. It's two are halves ofone," might also apply to the "novel argument" of Richard Walsh's study of recent innovative fiction. Walsh contends that critical divorcings of form and content have falsified the nature of the experimental fiction produced in the United States since the 1960s. In praise or condemnation, critics stressed the formal aspects of innovative fiction's divergence from mimesis, representing it as uniformly autonomous, self absorbed, and committed to undecidability. This characterization makes innovative novels seem incapable ofwhat they actually achieve: rigorous engagement with political and cultural realities. Walsh's introduction traces the sources of this misrepresentation, demonstrates its inaccuracy, and offers a corrective approach to the "arguments" ofliterary structures, one that honors rather than divides the unity of form and content (or, as Walsh prefers to call form's counterpart, "substance"). Subsequent chapters analyze innovative fictions in accordance with that approach, revealing novels that are formally innovative and fully engaged with their social contexts. Walsh's introduction is metacritical, literary historical, and theoretical. He explains the emergence of the consensus view of recent innovative fiction as disengaged from reality in this way. Whether attacking or defending experimental texts, novelists (Barth, Gass, Sukenick, Federman, Gardner, Barthelme, Hawkes), critics (Klinkowitz, Graff, Aldridge, Newman, Wilde, Hassan, Hutcheon, McCaffery, McHaIe), and theorists (Sontag, Bardies, Derrida, Baudrillard, Jameson, Lyotard) all emphasized the ludic, self-conscious , and immanent formal elements of innovative fiction at the expense of other, "engaged" elements. In doing so they acquiesced to...

No Time for Foolishness: On the Prophetic and Progressive Projects of James A. Forbes Jr. Akintunde E. Akinade I want to use my energy, my voice for spiritual revitalization. Whatever I do next is designed to call the nation to moral sensitivity; to challenge the nation to address the gap between the haves and the have‐nots. ‐James A. Forbes It is not enough to be busy. So are ants. The question is: what are you busy about? ‐Henry Thoreau Introduction: beyond a flash in the pan project An uncanny sense of serendipity hovers over the conception, development, and birth of this article. I have always contemplated writing a piece that will establish the enduring linkages between ecclesiology and social, economic, and political realities in the United States. In my mind, the best approach would be to identify either a case study or a personality that exemplifies this phenomenon. In order words, I have always been drawn to the idea of articulating a new narrative that refocuses the relevance of the sacred and public theology within the American landscape. The reality of secularity has not eviscerated the affinity between religion and America's legacy of freedom, justice, and liberty. Far from being an intellectual accident, I have ruminated about such a project since my graduate school days at Union Theological Seminary in the City of New York. Union provided the auspicious context to grapple with matters concerning the fluid intersections between matters of faith and justice. The transformative ideas of Bonheoffer, Tillich, Niebuhr, and Cone boldly defined Union's theological landscape. My experience at Union provided the necessary foundation for engaging the intersections between theology and social concerns. On December 20, 2015, the fourth Sunday of Advent, this nascent idea received a bold baptism of affirmation. On this Sunday of love, I was sitting in silent meditation at Riverside Church, gently trying to transcend the stress associated with a fourteen‐hours non‐stop flight to New York the previous day and James Forbes quietly walked in and sat in the pew directly in front of me. I jumped out of my short reverie and thought to myself: sitting in front me is a man that quintessentially exemplifies the writing project that has tugged away at my soul for two decades. Lo and behold, it dawned on me that here is a man whose odyssey, ministry, and vocation embody an idea that I have been wrestling with for a long time. Finally, a respite from a subject that had been simmering in my mind and soul. I gently leaned forward to convey my greetings and best wishes for the holidays. “Coincidence” is a pessimist lingo for “providence.” God's grace has a way of making all things cohere together. It was liberating to realize that an idea that had lurked in the deepest crevices of my mind for many years finally became real and tangible. It was gratifying that this eureka moment came within a few yards from Union, the center of progressive Protestantism in the USA, and it reconnected me with one of my mentors from the school. Once again, my association with this fine institution enabled me to fully develop an important intellectual thought with ease. With time, an issue that constituted itself as a conundrum was finally resolved. Although over the years, because of other professional demands, other assignments have taken precedence over this idea, it has never been totally expunged from my “to‐do list.” This paper therefore focuses on an important voice in contemporary American Christianity: that of James A. Forbes, the Senior Minister Emeritus of The Riverside Church in New York City. For eighteen years, he captivated, rejuvenated, and inspired America with his profound prophetic insights on peace and the common good. The pulpit is the ideal home for James Forbes. His messages and vision go beyond mere theological emotionalism or sophistry; they are deeply rooted in the religious, social, cultural, political, and economic realities of America in particular and the world as a whole. The legacy of riverside church The Riverside Church has always been identified with freedom, peace, and liberation, but it is my contention that James Forbes redefined and refined the mission...

The paper explores the role of the native language of Yugoslavia in Saša Stanišić's novel How the Soldier Repairs the Gramophone. On one hand, the texts portray the social, political, and societal realities of pre- and post-war life in the former homeland, and on the other hand, they delve into profound personal and collective memories. The author examines the memories and language of the characters originating from Yugoslavia. The depiction of cultural, social, and political realities, which emerges from the literary representations and the theme of memory, is directly crafted within the texts. Literary works by authors like Saša Stanišić create this image by intertwining personal experiences with fictional narratives.