Słabość istot żywych. Ewolucja według Calpurnii Tate Jacqueline Kelly

In this current context, critical epistemologies, methodologies, and frameworks like Participatory Action Research (PAR), decolonial theory, and situational analysis can provide relevant tools for critical feminist social work research and praxis to expose and reenvision harmful, extractive, and privatized knowledge generation and dissemination. In this article, I describe the possibilities for using critical situational analysis to promote critical feminist social work scholarship through the interrogation of colonial forms of knowledge production, recognition of enactments of refusal and resistance, and illustrations of situational mapping from a study focused on exploring power differentials within PAR collaborations among social work faculty and community stakeholders. I then discuss possibilities to incorporate these analytic qualitative methodologies and frameworks to promote critical feminist principles for critical qualitative inquiry.

The research article aims to explore the attempt of the so-called ‘fallen women’, the socially excluded women, to revive their status in Paulo Coelho’s novel, The Witch of Portobello. The principal objective of this research is to analyze how Athena, the protagonist of the novel, exposes the female face of God in a male-dominated society, and to investigate how Athena’s relentless struggle throughout her life paves the way for rebuilding the female identity. In addition to the close reading of the text, The Witch of, through the explorative, analytical method, the research tool used to conduct this research is feminist criticism, within the conceptual frameworks of such revolutionary French feminists as Sheila Ruth, Luce Irigary and so forth. The working hypothesis is that Athena practices witchcraft to express the outrage of the whole women community who have been bearing the repression from centuries. She becomes able to prove that women are not witches but sources of creation, and hence they are equivalent to god. The chief finding is that the portrayal of Athena’s character and her struggle in The Witch of Portobello can be taken as a female’s effort to create equal status in patriarchal society avoiding the tag of witch. It is expected that researchers willing to explore Coelho further from feminist or other perspectives can take the paper as a useful reference.

Introducing Greek Tragedy George Kovacs A.F. Garvie. The Plays of Aeschylus. Classical World Series. London: Bristol Classical Press, 2010. Pp. 80. £11.99. ISBN 9781853997075. R. Mitchell-Boyask. Aeschylus: Eumenides. Duckworth Companions to Greek and Roman Tragedy. London: Duckworth, 2009. Pp. 157. US $24.00. ISBN 9780715636428. A. Kelly. Sophocles: Oedipus at Colonus. Duckworth Companions to Greek and Roman Tragedy. London: Duckworth, 2009. Pp. 176. £12.99. ISBN 9780715637135. E. Hall, E. Greek Tragedy: Suffering Under the Sun. Oxford: Oxford University Press, 2010. Pp. xiv + 413. £30.00 ISBN 9780199232512. Greek tragedy always finds new readers. We, as educators, functional custodians and publicists of antiquity, must do what we can to optimize that readership, both for quantity and quality, attracting newcomers and training them in the critical appraisal and appreciation of some of the most culturally significant texts in human history. Thus the recent surge of books designed for those readers new to the experience of Greek tragedy is a welcome one. These books target various demographics: Rabinowitz 2008 and Scodel 2010 are for new readers of tragedy, while works like Goldhill 2007 and Walton 2009 aim to bring Greek tragedy to contemporary theatre practitioners. Prior to Gregory 2005 and Storey and Allan 2005, there were few books in this category. Ley 1991 (revised 2006) is short, while McLeish 2003 spends much time summarizing each of the plays and supporting material (glossary, bibliography) is limited. Each of these volumes has its strengths. The mandate for this review is a broad one: to assess collectively and reflect upon the recent spate of books billed [End Page 69] as introductions to Greek tragedy. The volumes here under specific review are for different niches in academic pedagogy, but all include the word “introduction” somewhere on the jacket. Considering the range of audience competencies one can expect to find in academia, from first-year undergraduates with little experience of theatre or literature to graduate students (or beyond) in cognate fields, such as drama or comparative literature programs, the idea of an “introduction” becomes a moving target. This is to say nothing of those potential readers outside the academy, in whom we must believe if we are going to make claims of relevancy in the world today. Many of the variables of defining an introduction have been examined in the debate on companionship: the phenomenon of self-identified “companions” to authors, genres, historical periods, et cetera, usually professing a mandate of accessibility. Two of my review volumes self-identify as companions, and in fact are most deserving of the term, given that the Duckworth volumes are each intended to be read in tandem with their play. Josiah Ober has recently questioned the value of this trend (cautioning without condemning), noting that the definition of “Companion” is sorely tested when applied to such a range of works. How then to define an introduction and judge its value? I have mainly limited myself to concerns of pedagogy within the (Canadian) university. This may prove unfair to some of the works on my list, but these are the new readers we know best, the ones we can shape and train. How useful are these volumes to students, both during the run of a University course and afterwards? To which students are they useful? The introductory volume must be accessible, thorough, and well rounded, with as many approaches represented as possible, alongside supporting paratext (glossaries, chronologies, lists of suggested reading). One metric I found telling was the appropriateness of each volume in the bibliography for a student paper. If I require a given number of sources in a student’s bibliography, would I count Garvie’s volume on Aeschylus toward that quota? Probably not, given its brevity, though Garvie would swiftly lead the student to several other useful sources. I have a similar conversation with classes about online sources: Wikipedia is not a suitable bibliographic source, but it may lead to proper peer-reviewed sources and it takes only a short time to determine this. Wikipedia is a research tool, not a source. We are not going to keep our students from these resources, and part of our job must be to train the students to recognize their...

The proposition that tragedy is anti-feminist requires a syllogistic counter-proposition: if tragedy is anti-feminist, then feminism must perforce be anti-tragic. Ferminist critics of Renaissance tragedy who have drawn attention to the ways in which the genre of tragedy victimises its female characters have not generally been concerned with the fact that the genre also, with equal frequency and intensity. Feminist critics of classical Greek and Roman tragedy point the study of tragedy in a different direction. In Greek tragedy, they note, difference sometimes implies a distinction that is not necessarily hierarchical, and in some cases when it is, the hierarchy represented places the feminine at the top. There are dimensions of both reality and imagination to these lives, while the city would like to make them fundamentally a matter of social reality. These feminist critics offer a radical revaluation of tragedy insofar as their readings refocus attention on the foregrounded representation of the feminine.

FEMINISM 111 Levinas, Emmanuel. Basic Philosophical Writings, eds Adriaan T. Pe-perzak, Simon Critchley, and Robert Bernasconi. Bloomington, IN, 1996. Miller, J. Hillis. The Ethics of Reading: Kant, de Man, Eliot, Trollope, James, and Benjamin. New York, 1987. Newton, Adam Zachary. Narrative Ethics. Cambridge, MA, 1995. Norris, Christopher. Truth and the Ethics of Criticism. New York, 1994. Nussbaum, Martha C. Love's

Edgar Award-winning writer Tony Hillerman has earned a reputation as a Grand Master of the popular mystery. This is the first full-length examination of his work. One of the most successful contemporary American writers, Hillerman has made his stories of Native American detectives instrumental in understanding modern American life. Through the creation of his Navajo detective characters, Hillerman has given new vigor to the popular genre of mystery fiction with his treatment of the problems of order and identity in modern society. This study examines each of his 13 novels in turn and includes a biographical chapter and a chapter on his innovations in the genre of detective fiction. This careful study of the narrative techniques and thematic investigations of Hillerman's detective fiction illuminates the way he has crafted a new and profound method for understanding the conditions of modern life. A biographical chapter traces the influence of his life on his writing. Individual chapters on his novels are divided into sections on setting, plot, generic conventions, character development, and themes. In addition, Reilly offers alternate approaches—such as feminist criticism or post-colonialism—from which to read the novel, which gives the reader another perspective on the fiction. This study discusses all of Hillerman's novels:The Blessing Way,The Fly on The Wall,Dance Hall of the Dead,People of Darkness,The Dark Wind,Listening Woman,The Ghostway,Skinwalkers,A Thief of Time,Talking God,Coyote Waits,Sacred Clowns, andFinding Moon. A complete bibliography of Hillerman's work, critical and biographical sources, and a list of reviews of each of his novels completes the work. Because Hillerman is considered a serious writer of popular detective fiction and has a wide following of adult and young readers, this work is an essential purchase by public and secondary school libraries, as well as college and university libraries.

This article describes a collaborative research project that took place in two south‐western US border towns and sought to understand how four muslim 1 girls (age 14–17) expressed and negotiated their bodily learning experiences. Drawing on both the work of arab–muslim critical feminist Fatima Mernissi who utilized classical Islamic tools of research and my positionalities as arabyyah‐muslimah, I used insider’s methods to discuss how three hijabs (veils) – the visual, spatial, and ethical – acted as a central genderizing discourse that challenged the girls’ learning opportunities. This article shows how the girls’ parents enforced these three hijabs; how the girls questioned and deveiled the hijabs in their dress, mobility in public places, and physical behavior around boys. This inquiry is a call for critical feminist researchers and educators to recognize how these three hijabs form a key genderizing discourse in the lives of muslim girls. It also presents the importance of: (1) working with muslim girls as agents in their own lives; (2) critical engagement with difference between researchers/educators and muslim communities; and (3) practicing a critically reflexive pedagogy of deveiling.

The article presents the meaning of a book for children and young adults as an important element of aesthetic education. An important mediator in this process are contemporary Polish publishers, who after the years of the “flood” of the last decade of the 20th century significantly contributed to raising the artistic level of published titles and renewing the book art for the young audience. A significant influence on the change of the publishing repertoire for children and young adults was exerted primarily by small, independent publishing houses, which not only were the first to dare to return to good editorial practices, but also, thanks to their actions and successes, influenced the practices of large publishing houses, which decided to expand their offer with slightly more ambitious titles. Thanks to this, young readers now find books designed and illustrated by renowned Polish and foreign artists, as well as talented newcomers. Through them, children have a chance to get in touch with art and experience beautiful books. Another important trend in the activity of contemporary publishers are books for children and young adults introducing the audience to the world of art. The “Mały Koneser” series published by Dwie Siostry is worth mentioning. It did not achieve a spectacular market success, but is a proof of how original initiatives are taken by contemporary publishers in order to stimulate the aesthetic sensitivity of young readers.

The immediate use of the contextual information to predict the upcoming information during sentence comprehension may vary depending on the aspects of the linguistic and world knowledge and the cognitive ability of readers. In this study, we investigated how well older readers employ their linguistic and world knowledge to develop the expectation for the upcoming information during sentence comprehension. In two offline tasks (cloze and listing), older and young readers were asked to complete sentence fragments (when agents and recipients were given or when agents and patients were given). The responses were used to compute predictability measurements (structural and lexical predictability). We found no aging effect in the production of likely structural choices and likely lexical choices, meaning that the most predictable ones to older readers were also the most predictable to young readers. Significant aging effect emerged in the production of unlikely choices; older readers were more predictable to unlikely structures but less predictable to unlikely words. We discuss the contextual sensitivity of older readers in formulating their knowledge representation for what is coming up next.

America's earliest novels were full of suicides. William Hill Brown's Power of Sympathy, often designated the first American novel, includes three. Most of Charles Brockden Brown's fictional works include at least one feigned, considered, or actual suicide. Susanna Rowson included a parable called The Suicides in her Invisible Inquisitor. John Davis's Original Letters of Ferdinand and Elisabeth, which I will examine at length, converts a real-life double suicide into a sentimental tale. Of the American novels published before 1820, at least twenty feature suicides--that is, about a quarter of the books? What accounts for this fictional obsession, and what does it tell us about the novel's role in early America? Richard Bell's recent consideration of similar questions offers a compelling narrative. In his account, Goethe's Sorrows of Young Werther triggered a suicide craze--real as well as fictional--that prompted cultural commentators to reconsider their former advocacy for sentimentalism. If in the 1770s and '80s Americans hoped sentimental novels could be used to engineer moral reform among young by the turn of the nineteenth century the sentimental appeared too risky a social force (In Werther's Thrall 98). Once solicited, sympathetic identification could not be reliably controlled, so even characters who were supposed to be negative examples could drag readers into misguided paths. At the same time, Bell suggests, the post-Revolutionary generation had to deal with real problems-industrialization, urbanization, commercialization--that made sentimentalism look naive. Rejected by social reformers as well as bored young readers, the Wertherian mode of sentimentalism had faded out of American fiction by the middle of the nineteenth century. This essay offers a complementary explanation of the relationship between suicide and early American fiction. While Bell's account begins with the publication of Werther and ends with its decline in popularity, I engage the transatlantic debates around suicide that developed over the entire eighteenth century. Goethe may have begun the craze for romantic suicide, but readers of the period would have understood it in terms of a longer history. In this broader context, I argue, suicide stood not only for sentimental excess but also for self-determination. Suspended between these two poles, suicide fiction had something unique to offer Americans of the late eighteenth century. Within the neoclassical rhetoric of the Revolutionary period, suicide could represent the pinnacle of virtue: individual choice at its most disinterested. But as critiques of liberalism have often noted, an ideology that insists on the individual's ability to construct her or his own life fails to account for the economic, social, political, and emotional forces that shape personal experience. Suicide, imaginatively treated, offered a means of addressing the failures of republican ideology. In both England and America, the eighteenth-century novel and its interlocutors took part in a vibrant public conversation about suicide. Christian church had long considered killing oneself a sin, but Enlightenment writers questioned why and whether it was wrong, how and if it could be prevented, and what if any right the state had to intervene and punish. As print culture shifted toward the secular, suicide became a popular topic for debate. most prominent Anglo-American writers-John Locke, David Hume, Thomas Jefferson, Benjamin Rush--as well as the anonymous and more obscure writers of newspapers, broadsheets, and plays weighed in with opinions and anecdotes about suicide. Over the century the meaning of suicide changed. In 1700 both English and American law treated suicide as a crime, resulting in confiscation of the deceased's property, refusal of Christian burial, and even mutilation of the body. By the nineteenth century suicide had begun to be treated as a medical problem, a tragic symptom of melancholy rather than a criminal act. …

Neural Processing of Morphology During Reading in Children

Contemporary feminist critique continues to reveal conventional sociological methods and theoretical frameworks of analysis that are fundamentally at odds with or exclude from inquiry the multiple realities of women’s lived experiences. In light of this and other feminist principles, this paper explores the extraordinary potential of feminist phenomenology as a tool for research that concerns itself with “starting from women’s experiences.” Applied to in-depth interviews/oral histories, this means learning to “listen in stereo”—to listen with restraint to the meanings of the experience of the respondents. It also means applying to the interview situation a feminist framework that builds connections and avoids alienation of the researcher from the participants.

Diana Tietjens Meyers and Margaret Urban Walker argue that women's autonomy is impaired by mainstream representations that offer us impoverished resources to tell our own stories. Mainstream picture books apprentice young readers in norms of representation. Two popular picture books about child storytellers present competing views of a child's authority to tell his or her own story. Hence, they offer rival models of the development of autonomy: neo-liberal versus relational. Feminist critics should attend to such implicit models and the hidden assumptions they represent in children's books.

Reviewed by: Juvenile Literature and British Society, 1850–1950: The Age of Adolescence Gabrielle Owen (bio) Juvenile Literature and British Society, 1850–1950: The Age of Adolescence. By Charles Ferrall and Anna Jackson. New York: Routledge, 2010. Juvenile Literature and British Society is a detailed survey of popular literature [End Page 348] published for young people in Britain over one hundred years. Ferrall and Jackson’s book boldly argues that British society from 1850 to 1950 might be called “the age of adolescence,” because during this period adolescence was understood as a time of adventure and romantic idealism rather than the time of “storm and stress” usually attributed to the late nineteenth century and G. Stanley Hall. One problem with this cultural claim is that it is based entirely on Ferrall and Jackson’s reading of juvenile literature from this period. One has to wonder whether the romantic idealism found in juvenile fiction might more accurately be said to represent what writers and publishers hoped for young people or perhaps expected young readers to enjoy, rather than a reflection of historical phenomena or widespread understandings of youth. While certainly ideas about youth can be found in fiction, the relationship between fictional works and the culture in which they are produced is perhaps much more complex than this argument allows. However, Ferrall and Jackson’s book makes a unique contribution to the field of children’s literature in its observation that much of the juvenile fiction published over this time span contains very positive depictions of young people, a fact that has been overlooked by scholars searching for historical representations of the negative, turbulent developmental stage we find depicted in some of today’s popular psychology. The book is thematically organized, divided into six chapters in addition to the introduction and a short conclusion. Chapter 1 deals with themes of sexuality and sacrifice in boy’s fiction before the First World War, arguing that these books represent boys “as sexually mature in a quite ordinary and by no means alarming fashion” (22). While the chapter does discuss cultural anxieties about sexual vice—mainly masturbation and same-sex affections—even offering strongly homoerotic passages from Tom Brown’s School Days, it emphasizes the ideals of sacrifice and devotion to nation and empire in school stories and adventure novels. “The adolescent,” Ferrall and Jackson write, “was a less complicated and certainly less troubled figure than he would become” (38). Historical claims like this one crop up frequently in Juvenile Literature and British Society, equating fictional depictions with perceptions of social reality. Chapter 2 is framed loosely around notions of romance in boys’ stories from the same period, arguing that this literature reconciled “rebellion with authority and individual desire with social convention” (41). This chapter describes a range of novels, though the connections between the array of authors and texts are not always made clear. The third and fourth chapters cover themes of sexuality, romance, sacrifice, and independence in prewar girls’ stories. These chapters entertain a complexity of argument that seems to be missing from the first two, and they situate juvenile fiction within both a broader literary history and the field of literary and feminist criticism. Chapter 4, in particular, complicates “the angel in the house” and “the New Woman” as they are conceived of in Victorian literary [End Page 349] criticism, arguing that these notions “have come to represent much more singular concepts of femininity than they represented when they were first used in the nineteenth century” (114; emphasis in original). Likewise, Ferrall and Jackson’s readings of girls’ stories reveal that themes of sacrifice and independence are frequently linked together: for example, a girl’s refusal of her first marriage proposal is depicted as itself a sacrifice, as well as requiring additional sacrifice if she is to support herself and her dependent siblings or parents. Reading girls’ stories in relation to existing genres of boys’ stories makes clear their common emphasis on principled, romantic idealism as the distinguishing characteristic of youth. The final two chapters deal, respectively, with boys’ and girls’ stories from the period between the world wars. While the contemporary literary works of Hemingway and Pound adopt a modernist...

Introduction. The problem of studying ways and means of educating the younger generation of high moral ideals is an acutely urgent task of modern science, since it is a response to the challenges of the time, laid down in the basis of state policy to preserve and strengthen traditional Russian spiritual and moral values. The purpose of the article is to present the results of a study of the educational impact of a modern children's and youth book on the example of Elena Mamontova's novella "The White Owl" on understanding and strengthening such a traditional Russian spiritual and moral value as mercy. Materials and methods. The tools for socio-pedagogical research were 26 children's books – winners of literary prizes over the past ten years, from 2013 to 2023, and presented on official websites. Among them, the books most in demand by the children's readership were highlighted. The selection was carried out using the methods of analyzing readers' reviews, readers' forms of children's libraries and literary analysis of the ideological and artistic merits of the works. Based on the ideological and substantive criterion, the expert evaluation method selected E. Mamontova's novel "The White Owl" as having a spiritual and moral educational potential. Results. The author summarized the results of the experimental study. The subjects, 22 students of the 7th grade, teenagers of 13-14 years old, first independently, and then together with the teacher discussed traditional Russian values, primarily charity. After the initial independent reading of the book, 82% were able to understand the main idea of the work – the importance of mercy, which indicates the accessibility of the ideological and artistic system of the teenage book to readers. At the same time, special work in the lesson deepened and enriched the students' ideas about mercy: 100% realized the concept of mercy not just as a synonym for kindness, but as the ability to forgive out of compassion, humanity, and show leniency. 60% of the subjects somehow compare themselves with the characters of the story, noting a similar experience in their lives, which indicates a meaningful reading. In addition, some young readers, after special work with the book, were able to go beyond the specific situation and see the problem of mercy in a broad life perspective, talking about the fate of future generations. Conclusion. On an experimental basis, a conclusion is formulated about modern adolescent literature as an important resource for the spiritual development of the younger generation and the strengthening of its national identity. The conclusion is confirmed by the analysis of students' feedback on E. Mamontova's story "The White Owl", which contains moral lessons that allow preserving Russian national identity and help to educate a spiritually developed personality of a teenager.