Poetic Hospitality in Antonio Machado’s Soledades

By dwelling first on the ‘faults’, then on the ‘excellencies’ remarked by reviewers and critics of Little Dorrit, this chapter also traces the history of that novel’s critical reception as it evolved from a close focus on contemporary politics and economics toward a study of the writer’s Hogarthian skill at building a visual satire. Subsequently the characters’ psychology as well as Dickens’s became the object of critical enquiry. When visual studies brought to the fore the import of perception and its narrative function, another area of investigation opened, in this chapter specifically connected with, and culturally encoded in, the technique of the stereoscope and the scientific notion of the binocularity of vision. Implemented by Dickens in the construction of Little Dorrit, this notion allows for a further critical reading of the novel as lieu de mémoire where real and imagined imprisonments, inscribed in history, also conjure the scene where cultural memory rewrites individual and collective identity in the present.

This article explores the production and transmission of illustrations Candido Portinari made for a North-American edition of Hans Staden's book on sixteenth-century Brazil. Made in 1941, the drawings fell into oblivion for almost sixty years, until their posthumous publication in 1998 in Brazil. The article argues that the destiny of the drawings is symptomatic for the articulation of the cultural memory of the colonial past in Brazil. Based upon the analysis of their critical reception and visual repertoire, it suggests that the drawings diverge from traditional representations of the death of indigenous people by challenging the temporality underlying the national framework of colonial memory

Müntzer is considered as part of the Luther-centred Reformation memory culture. After a brief biography of Müntzer’s short life and his relationship with reformers of his age, the study focuses on his written work, especially on the Fürstenpredigt. Coming from the tradition of German mysticism and chiliast lay movements, Müntzer preaches a ‘theology of the heart’. From 1523, differences to Luther became sharply accentuated. Unlike Luther, Müntzer’s theology encompasses social and political concerns, freeing the lower classes from religious dogmatism and feudalism. He therefore opposes Luther’s concept of ‘sola scriptum’ in favour of an ‘inner word’, is against Luther’s ‘sola fide’, thought to limit a Christian’s freedom of choice and is particularly against Luther’s doctrine of the two realms which restricts worldly power to the princes. The metaphor of the ‘sword’ pervades Müntzer’s work, foreshadowing his eventual involvement in the Peasants Uprising. The second part of this study involves a survey of Müntzer research from the nineteenth century to the present, focusing on work in the 1920s and in the GDR, where Müntzer became increasingly associated with the state’s culture of identity.

BEGINNING from the premise that early modern religious writing was essentially communicational, this collection aims to explore both how it was used to create or consolidate communities, and how it drew on cultural memory in order to do so. Its twenty chapters, in four parts, cover a variety of genres and religious affiliations, and span the period from the Elizabethan Settlement of 1558–9 to the Toleration Act of 1689. Part I contains two overviews, of Protestant dissenting literature by Alan Sell, and of attitudes towards toleration for Roman Catholics by Arthur Marotti. Part II, covering 1558–1631, includes essays by Lars-Håkan Svensson and Åke Bergvall on The Faerie Queene, A. D. Cousins on Donne’s Satire III, and Maria Salenius on his sermons. Anthony Johnson analyses Jonson’s representation in The Masque of Augurs of James I’s eirenic political ideology, and Thomas Rist evaluates changing critical reception of Shakespeare’s possible Catholicism. In two articles on undisputed Catholics, Roger Sell discusses Sir John Beaumont’s negotiation of three overlapping potential readerships, and Gunilla Florby Elizabeth Cary’s translation of du Perron.

Angela Carter's "The Bloody Chamber" stands as a transformative work in feminist literature, challenging entrenched gender norms and reshaping the landscape of contemporary storytelling. This paper delves into Carter's narrative prowess, exploring how her reimagining of traditional myths serves as a potent critique of patriarchal structures. Employing a qualitative research approach, this study utilizes a comprehensive literature review to analyse Carter's contributions to feminist discourse and the critical reception of her seminal work. Drawing on postmodern literary theories, particularly Roland Barthes's theory of myths, the paper examines Carter's deconstructive approach to storytelling and its implications for feminist literary criticism. Through meticulous analysis of Carter's narrative techniques, thematic preoccupations, and engagement with feminist discourse, this study offers fresh insights into the enduring relevance of "The Bloody Chamber" in contemporary literary studies. Ultimately, this paper contributes to a deeper understanding of Carter's literary interventions and their broader implications for gender representation and cultural discourse.

Niyi Osundare’s revolutionary poetics is rooted in his distinctive ability to maximise his bilingual linguistic repertoire to express Yoruba thoughts in English words. In this article, I analyse the creative and stylistic strategies that Osundare deploys to domesticate the English language using poems from his collection The Word Is an Egg (2000). I argue that Osundare uses his autonomy and agency as an African writer to present an alternative perspective on the politics of language in African literature while also meeting the decolonisation imperative of his day. He domesticates the English language by peppering it with Yoruba to create an “African English” or “Yoruba English” in his poetic composition. The article is in five parts. Initially, I situate Osundare as a poet within the Nigerian literary landscape and highlight the critical reception his radical development of Nigerian poetry in English received. A literature review focuses on the contentious language debate in African literature. The third part presents decolonisation theory as the theoretical framework, specifically highlighting language as an African resource for challenging the Western grip on poetry and the hegemony of the English language in African literature. In the fourth part, the domestication of the English language by Osundare, I discuss how he uses English and Yoruba to co-create an African English or Yoruba English in his poetic composition. I conclude by asserting that Osundare’s alternative perspective weakens Ngũgĩ wa Thiong’o’s absolute perspective on language usage in African literature by highlighting the omission and inherent problems in the absolutisation of colonialism in decolonial discourse.

Of the French symbolists I have never had any or accurate knowledge, wrote Yeats to Ernest Boyd in February 1915.1 Unperturbed, a Times Literary Supplement reviewer in 1922 spoke of Mr Yeats, the only Symbolist poet seriously to be considered in English literature.2 Both statements are true: I shall try to show that Yeats was better acquainted with the Symbolist aesthetic than has hitherto been recognised and that, though often second-hand (hence neither detailed nor accurate), the was crucial to his own poetic and intellectual development. Considering his limited knowledge of French, it is unlikely that Yeats was making use of Mallarme's sonnet M'introduire dans ton histoire when the image of an axle appears in He Hears the Cry of the Sedge. It is to Eliot we must look for allusion (the opening of the second section of Burnt Norton consciously echoes Mallarme's celebrated moyeux); with Yeats, it is a case of affinity. In one of the few valuable critical articles on Yeats and the French,3 Daphne Fullwood suggests that influence operates in the sense discerned by Shelley in his preface to The Revolt of Islam:

Memory production, vandalism, violence: Civil society and lessons from a short life of a monument to Stalin

The essay explores the special features of French Symbolist aesthetics, which consist of the conceptions of symbolization as correspondence between the spiritual and objective worlds, suggestion, artistic synthesis and synesthesia, beauty, the beautiful and the sublime. The author analyzes the main trends of Symbolist aesthetics in France – the Neoplatonic/Christian and the Solipsistic symbolism – and traces their influence on art. She shows that the attitude toward aesthetic philosophy inherent in French Symbolism turned out to be the backbone for Euro-American culture in the twentieth and twenty-first centuries.

The article is devoted to a comparative analysis of the lyrics of Fyodor Sologub and his predecessors, French symbolist poets Paul Verlaine and Charles Baudelaire. The poetry of Sologub is considered in the context of the main provisions of symbolist aesthetics, set forth in the theoretical works of Jean Moréas and lectures of Dmitry Merezhkovsky. Fyodor Sologub became interested in poetry of the French Symbolists at the end of the 1880s and did not stop thereafter. The first significant poet for the Russian symbolist was Paul Verlaine, whose poems were so consonant with Sologub’s worldview that the latter considered them as an organic part of his work. The picturesqueness and musicality of Verlaine's poems, his methods of suggestion, mystical irony, as well as the highest level of verification became for Sologub a starting point and one of the most important guidelines in his work. Sologub enters into a poetic dialogue with Charles Baudelaire. The undertaken comparative analysis of their poems showed that, having common aesthetic features, aims and values (the idea of correspondences, the opposition of the sacred and profane worlds, the aestheticization of the ugly and death, the desire for infinity, theomachism, etc.) and using similar poetic techniques (cyclization, associations, suggestion, grammatical constructions, sound writing, etc.), each poet, however, creates a unique artistic world. In our opinion, the main thing that is the fundamental difference between Baudelaire’s worldview platform and Sologub’s position is the possibility (for Baudelaire) or impossibility (for Sologub) of liberating a person from an illusory and deceitful material world, in which a person is doomed to suffering, and achieving the desired Ideal. In other words, Baudelaire asks the reader riddles, the answer to which is difficult to find, but possible, and Sologub puts the reader face to face with the mystery of the universe, where each new answer is not final and produces more and more new questions.

What role did music play in the creation of a new aesthetics of poetry in French from the 1860s to the 1930s? How did music serve as an unassimilable 'other' against which the French symbolist poets crafted a new poetics? And why did music gradually disappear from early twentieth-century poetic discourse? These are among the questions Joseph Acquisto poses in his lively study of the ways in which Baudelaire, Mallarme, Ghil, and Royere question the nature and function of the lyric through an ever-shifting set of intertextual and cultural contexts. Rather than focusing on 'musicality' in verse, the author addresses the consequences of choosing music as a site of dialogue with poetry. Acquisto argues that memory plays an under acknowledged yet vital role in these poets' rewriting of symbolist poetics. His reading of their interactions, and his focus on both major and neglected poets, exposes the myth of a small handful of 'great authors' shaping symbolism while a host of disciples propagated the tradition. Rather, Acquisto proposes, the multiplicity of authors writing and rewriting symbolism invites a dialogic approach to the poetics of the period. Moreover, music, as theorized rather than performed or heard, serves as a privileged mobile space of poetic creation and dialogue for these poet-critics; it is through engagement with music, supposedly the purest or most abstract of the arts, that one can retrace the textual and cultural transformations accomplished by the symbolist tradition. By extension, these poets' rethinking of poetics is an occasion for present-day critics to re-examine assumptions, not only about the intersections of music and poetry and our understanding of symbolist poetics but also about the role that the aesthetic implicitly plays in the creation, preservation, or reshaping of cultural memory.

Murine models are suggested as the gold standard for scientific research, but they have many limitations of ethical and logistical concern. Then, the alternative host models have been developed to use in many aspects especially in invertebrate animals. These models are selected for many areas of research including genetics, physiology, biochemistry, evolution, disease, neurobiology, and behavior. During the past decade, Galleria mellonella has been used for several medical and scientific researches focusing on human pathogens. This model commonly used their larvae stage due to their easy to use, non-essential special tools or special technique, inexpensive, short life span, and no specific ethical requirement. Moreover, their innate immune response close similarly to mammals, which correlate with murine immunity. In this review, not only the current knowledge of characteristics and immune response of G. mellonella, and the practical use of these larvae in medical mycology research have been presented, but also the better understanding of their limitations has been provided.

This paper uses the film Raise the Red Lantern (1991) directed by Zhang Yimou as an example to explore the tragic fate of women under China's feudal marriage system. TIn this study, I explore how cinematic techniquesspecifically visual symbolism, color palettes, and framingunderscore the oppressive ambiance of feudal ethics. My analysis hones in on salient visual motifs, such as the recurring red lanterns, alongside ritualistic practices like foot massage and the concubine hierarchy, which collectively epitomize female subjugation and compliance. The characters in the film are interpreted as symbols of different social ideologies, with a particular focus on Songlian, Meishan, and Zhuoyun, who reflect different responses to systemic oppression. This study uses semiotics and feminist film analysis to interpret the narrative and stylistic strategies, highlighting institutionalized patriarchy in the film. The findings show that the film presents a harsh historical reality and exposes the internalized misogyny and self-destruction fostered by patriarchy. The conclusion reflects on the broader implications of gender representation in the film and the lasting impact of feudal values on modern cultural memory.

This article applies Jean E. Veevers' tripartite schematization of the social meaning of pets to an interpretation of canine protagonism in three Spanish texts. The functions of domestic pets identified by Veevers—projection, sociability and surrogacy—are mapped onto La criatura, directed by Eloy de la Iglesia (1977), Solas, written and directed by Benito Zambrano (1999) and Recuerdos de perrito de mierda, written and illustrated by Marta Alonso Berná (2014). Animal companions are made central in my analysis which fuses ethological cinematic theory with a review of critical reception to produce new readings of the texts. These uncover deconstruction of heteropatriarchy, gendered neo-liberalism and speciesism, loci hitherto unexplored in detail with respect to the corpus of material. The article posits the dog as an analogue skeuomorph and as a register of transformation that marks a shift in canine rhetorical value from psychopomp in the 1970s to remnantal residue of cultural memory in the 2010s.

Editors' Introduction