Anthology Of Stories Research Articles

Stereotypes and Gender Roles in Pandey’s Jiyara: Changing the Script

Nayan Raj Pandey’s Jiyara, an anthology of stories, portrays the prevailing gender practices in the Madhesi community that make women’s life devastated. The anthology highlights that existing gender norms promote inequality, violence and injustice against women. So, the study investigates how the gender roles are instituted and imposed to the females in the story “Janaani” in particular and in the Madhesi community in general. It scrutinizes the issues related to socially prescribed gender roles that bring in the life of Madhesi women. This paper assesses the factors that force the Madhesi women to subvert the scripted gender roles. To address these objectives, Judith Butler’s ideas on gender performativity, gender regulation and gender subversion are used. In Butler’s understanding of gender, the ‘performances of gender’ are enforced through the social script. She views that an individual’s gender is created by performing the script repetitively; however, the act of repetition creates the space for the individual to repeat the acts differently. Therefore, though a society constrains the individual in stereotyped gender roles, one seeks various possibilities within those constraints to break them. The selected story illuminates the prevailing gender stereotypes in the Madhesi community that act as a prime cause of the plight of Jamenty, the central character of “Janaani”. The paper concludes that since gender is an unstable entity which can be constituted by the individual differently, Jamenty, a representative female of the Madhesi community, subverts the socially imposed gender roles.

Existential Crisis of Female Characters in Sita Pandey’s Fever

This article examines Sita Pandey's Fever, an anthology of stories about pain, suffering, and stereotypical depictions of women. The story deals with the oppression of women in patriarchy. Women do housework, serve their husbands, and work long hours and after-hours. They become alienated, frustrated, and mentally and physically broken. The cause of their suffering is none other than patriarchy. Patriarchy imposes laws on women that affect their identity and existence. Society gives them difficult roles and limits their roles. Women live according to patriarchal norms and values, suppressing their own desires. Female characters are depicted as mere servants guided by their emotions. Society is a great example of the ignorance and blind exploitation of women. Society requires women to have passion in their eyes, lust for women's bodies, and admire the beauty of women's bodies. Just as Prema is compared to wine in the story 'Own Question Mark', men compare women to inanimate objects. Female characters are seen by men simply as objects of beauty, pleasure, and satisfaction. The stories contained in Fever visualize the memories of women's oppression, alienation, and depression in society. This article creates an overview of the pain, grief, suffering, hardship, and haunting memories of female characters, exploring their lost identity, respect, and dignity.

Shakespeare and the Folktale: An Anthology of Stories

Shakespeare and the Folktale: An Anthology of Stories

On liberation of English from purist pundithood through nativization in Nepal

This qualitative content analysis paper attempted to explore the linguistic, creative, and pragmatic nativization employed by creative Nepali authors of English in their writings. I purposively selected three anthologies of stories, four novels, eight essays, one newspaper article, and four news stories/reports. Then, I went through the contents, examined the language used in those texts, noted down the unique features of Nepali English, and thematized them under linguistic, creative, and pragmatic nativization to make the analysis more explicit. I found that the creative Nepali authors of English intentionally nativized English to convey a distinct sense of Nepaliness and to deconstruct the so-called sacred cow model of English. Findings reveal that policymakers and pedagogues need to shift from the monomodel approach to the functional polymodel approach that only values the features of Nepali English as innovations, rather than errors.

Under Irish and Foreign Skies: Home, Migration and Regrexit

This article analyses literary reflections on the process of migration both from and to Ireland in selected contemporary short stories and poems. Changing Skies (2014), an anthology of stories by Manchester Irish writers, represents a wide spectrum of the Irish migrant experience. Although traditionally perceived as a country which has sent waves of emigrants to other parts of the world, recently Ireland has itself become the destination and adopted home for thousands of immigrants. The second part of the article discusses how foreign writers residing in Ireland view the questions of home, identity and migration in two companion volumes of poetry. The concluding section surveys a sample of Irish writers’ reactions to the process of Brexit, which is redefining migration, home and identity both in Britain and on the island of Ireland, and is causing widespread regret in the Irish community that the tendency towards greater diversity, mobility and heterogeneity has been halted.

The messy work of decolonial praxis: insights from a creative collaboration among queer African youth

On the African continent, coloniality/modernity and the (un)freedom of queer peoples intersect in particular historically embedded and newly oppressive ways, making queerness a significant area for transformative struggles. This article draws from the learnings of a collaborative project, called the Qintu Collab, wherein queer African youth created an anthology of graphic stories and a set of podcasts based on their life experiences. The project aimed to link academic scholarship with art and activism through a specifically queer feminist perspective in an effort towards decolonising methodology; and to explore queer collaboration as an antidote to the coloniality of power of dominant western perspectives on queerness and the marginalisation of queer Africans, particularly in countries where same-sex sexuality is criminalised. Taking a feminist queer perspective, we explore the potential of participatory creative research as decolonial practice, to reveal the complex messy work of working together. Specifically, we address the question of when collaborations begin and how methodological decision-making takes place; assumptions about shared ideology and how ideological differences, in our case around notions of queer politics and personhood, are addressed within collaborative settings, as well as how the imagined audience shapes collaborative processes. Our learnings are pertinent for anyone undertaking participatory research collaboration as a transformative endeavour. We want to trouble the idea that participatory collaboration and creative methods are sufficient as decolonial practice. We found that early shared decision-making, (queer) insider research and creative methods were significant for raising and holding contestation and ideological difference, as well as enabling critical thinking and conscientisation. However, maintaining an open, collaborative process conducive to decolonial thinking and doing was hard, ongoing and imperfect work, as we constantly negotiated personal and structural conditions of coloniality.

Hybridity in Nepalese English

With its unprecedented spread globally, English has been diversified, nativized, and hybridized in different countries. In Nepal, English is code-mixed or hybridized as a result of its contact with the local languages, the bilinguals’ creativity, and the nativization by Nepalese English speakers. This qualitative content analysis paper attempts to describe hybridity in Nepalese English by bringing the linguistic examples from two anthologies of stories, two novels, five essays and two articles written in English by Nepalese writers, one news story published in the English newspaper, advertisements/banners, and diary entries, which were sampled purposively. The present study showed that hybridity is found in affixation, reduplication, compounding, blending, neologisms, and calques. Pedagogically, speakers of Nepalese English can utilize linguistic hybridization as a powerful tool to nativize English in the local contexts, exhibit hybrid identities and linguistic co-existence, exercise their bilingual linguistic creativity, reduce their linguistic anxiety, and maximize the linguistic economy.

Liberty or death

A review of Boat by Le Nam. Nam Le's novella Boat (Le) captures the pain and anguish of a group of people seeking to transform their life. The book is an anthology of stories and novellas covering a range of topics concerning the human condition (Bullock). The author captures the wide assortment of emotive and expressive human conditions through an analysis of honour and pride with the comparison of these uniquely human tendencies against those of love, duty and compassion and in how sacrifice transcends generations. In this paper, I shall be focusing on one specific novella contained within this anthology, the one after which the book is named. It is a story of a group of boat people who left Vietnam seeking freedom and risking everything to achieve it. Boat is a story of hardship and sacrifice and a commitment to hazard everything for a meagre possibility at liberty and freedom for themselves and their families. Before we can genuinely understand Nam Le's story, we need to understand the world that led to a people willing to sacrifice everything to escape to the promise of a different world.

Book review: Experiences of Intervention Against Violence: An Anthology of Stories. Stories in Four Languages from England and Wales, Germany, Portugal and Slovenia

Book review: Experiences of Intervention Against Violence: An Anthology of Stories. Stories in Four Languages from England and Wales, Germany, Portugal and Slovenia

다카기 도시오(高木敏雄) 편찬 『조선교육옛이야기[新日本敎育昔噺]』(1917)의 서지와 해학의 미학

다카기 도시오(高木敏雄) 편찬 『조선교육옛이야기[新日本敎育昔噺]』(1917)의 서지와 해학의 미학

Cuentistas mexicanos modernos, entre tópicos, cánones y creación crítica

Cuentistas mexicanos modernos is a short story anthology of fiction stories that bring together Mexican authors of the 1950’s. This anthology was compiled by Emmanuel Carballo, a Mexican literary critic, journalist and promotor of cultural affairs during the second half of the twentieth century. This analysis focuses on the prologue and profiles broached in the anthology, as well as on the very concept of anthology. Alfonso Reyes, Alberto Porqueras, and Justo Serna provide the theoretical basis for the study, which sets aside the stories gathered in the publication and concentrates mainly on topics which Carballo treated, like Mexicanism and tradition. In addition, he established a canon: the division of Mexican literature into realist and fantastic veins. At the same time, he practiced what became known as critical creation on the authors anthologized in this 1956 publication.

Literary Representations of The Great Barrier Reef

In 1626 Samuel Purchas published an anthology of travel stories which included an account by François Pyrard de Laval of his shipwreck on a coral reef in the Maldives for 5 years in the first decade of the seventeenth century. Purchas translates Laval's account of the coral atolls as follows:<br />All the shallowes are stone, Rocke and sand, so that when the tide is out, it reacheth not to ones waste, and for the most part to the mid-legge; so that is were very easie to goe wihtout a Boate throughout all the Isles of the same Atollon, if it were not for two causes. The one great fishes called Paimones, which devoure men and breake their legges and armes, when they encounter them; the other is that the depths of the Sea are generally very keene and sharpe Rockes which hurt them wonderfully that goe into it. And moreover they meete with many branches of a certaine thing which I know not whether to terme Tree or Rocke, it is not much unlike white Corall, which is also branched and piercing, but altogether polished; on the contrary, this is rugged, all hollow and pierced with little holes and passages, yet abides hard and ponderous as a stone. (Purchas, vol IX, 509).

REVIEW: Freda Johles Forman, ed. "The Exile Book of Yiddish Women Writers: An Anthology of Stories That Looks to the Past So We Might See the Future"

REVIEW: Freda Johles Forman, ed. "The Exile Book of Yiddish Women Writers: An Anthology of Stories That Looks to the Past So We Might See the Future"

Multiples: An Anthology of Stories in an Assortment of Languages and Literary Styles

<i>Multiples: An Anthology of Stories in an Assortment of Languages and Literary Styles</i>

From SlutWalks to SuicideGirls: Feminist Resistance in the Third Wave and Postfeminist Era

From SlutWalks to SuicideGirls:Feminist Resistance in the Third Wave and Postfeminist Era Tram Nguyen (bio) Over two decades ago in the January 1992 issue of Ms. magazine, Rebecca Walker called for a Third Wave of feminist consciousness. Walker was incensed by a collocation of events hinging on race, gender, and class ideologies. With Shannon Liss, she mobilized a collective and foundation to promote voting rights, education, wage, and prison reform. They provided those in need with emergency funding for abortions, women-led projects, and reproductive rights activism (Walker and Liss 2012). Although she coins the term, Walker is less interested in developing a coherent, new feminist theory than in building coalitions with other social justice leagues through the Third Wave Foundation. Hers is a feminism of intersectionality, but one that also proffers self-empowerment, lived experience, and the plurality of pleasure. To Be Real, an anthology of stories and testimonials from women and men, reflects the confessional and individualist drive of the Third Wave. The work of conceptualizing this new feminism continues to be negotiated by feminist academics and practitioners for whom the core of Third Wave feminism is its rejection of Second Wave’s seeming essentialist and rigid positioning of women’s politics and lives. But Third Wave feminism is troubled by divisions within its still-forming body of activism and theories, as well as by postfeminist seductions. While Third Wave feminists such as Jennifer Baumgardner and Amy Richards reject the label of “postfeminist,” a skein of their Third Wave feminism that advocates embracing the pleasures of “girl culture” coincides with postfeminist tenets. The term “postfeminism” first appears in Susan Bolotin’s 1982 article “Voices from the Postfeminism Generation,” in which the [End Page 157] author contends that the battle for equality has been won, and it is time to stop “harping” on women’s oppression (29).1 Naomi Wolf would go so far as to assert that Second Wave feminism victimizes women and exaggerates claims of women’s suffering and gender inequalities (1993, 135). For Wolf, who is situated in both Third Wave and postfeminist camps, the alternative is “power feminism,” which “believes women deserve to feel that the qualities of starlets and queens, of sensuality and beauty, can be theirs … [and which] knows that making social change does not contradict the principle that girls just want to have fun” (137–38). Wolf’s glide from “women” to “girls” resonates with Baumgardner and Richards’s statement that “while it’s true that embracing the pink things of stereotypical girlhood isn’t a radical gesture meant to overturn the way society is structured, it can be a confident gesture” (2000, 136). Power feminism, or girlie feminism, envisages not women combating institutional sexism, but girls experimenting with personal choices in a perpetual state of youth and innocence. But where is the political power in feeling the starlet or talking to friends at a dinner party? In Manifesta, while drawing on the critical challenge to normative perceptions of female sexuality by Judy Chicago in her installation The Dinner Party (1979), Baumgardner and Richards proceed to encourage a depoliticized version of Chicago’s work by commenting that “a good dinner party (or a gathering of women) is just as likely to be a place to see politics at work as is a rally” (2000, 15). Third Wave feminists and postfeminists encourage “girls” to immerse themselves in the pleasures of femaleness, to find self-fulfillment and carnality, rather than to dismantle, critique, expose, or challenge systematic discrimination and violence. In Third Wave Agenda, Leslie Heywood and Jennifer Drake acknowledge that “despite our knowing better, despite our knowing its emptiness, the ideology of individualism is still a major motivating force in many third-wave lives” (1997, 11). The contradictions within and between these new feminisms have, nevertheless, powerfully shaped young feminists as well as popular perceptions of young women in the twenty-first century who are taught that loving “feminine trappings” does not equal being duped (Baumgardner and Richards 2004, 60). True, but it also does not equal a threat to the status quo. As the Third Wave matures, it must struggle to clarify its core feminist values so that women’s sexual...

Postreading Questioning and Middle School Students’ Understanding of Literature

The study examined the effectiveness of a “story map,” a questioning technique (Beck & McKeown, 1981) for improving students’ understanding of literature. Though the story map idea was widely adopted as a student-initiated strategy, the original story map—a teacher-generated, postreading questioning framework—was never empirically tested. This study examined the effects of using three postreading questioning conditions with stories from middle school anthologies: the story map, anthology questions, and no questioning. Results indicated a significant difference for comprehension between both questioning conditions and no questioning but no significant difference between the story map and anthology question treatments. However, the story map condition had a more positive effect on students’ enjoyment of the stories and their feeling of success in understanding them than the other conditions.

Kicking It up Beyond the Casual: Fresh Perspectives in Young Adult Literature

Kicking It up Beyond the Casual: Fresh Perspectives in Young Adult Literature David Cappella (bio) Adolescent. Teenager. Young adult. These terms for this awkward phase of life shiver with connotations. And why not? As adults, we raise them, teach them, live among them, and most definitely write for and about them. They perplex us. Indeed, young adults are spectacularly unique and much on our minds. We fret over where they are and what they are doing, whether texting while driving or, perish the thought, sexting a friend. Adolescents are the focus of research in neuroscience, of political drama, of public policy debates; they are in the news, on TV, the subjects of movies, and on trial in our courts. Young adult issues surround us: the Supreme Court’s decision in Roper v. Simmons, the social/sexual debate concerning the gender of the South African sprinter, Caster Semenya; a bullying incident in South Hadley, Massachusetts, that led to yet another suicide and to criminal charges against several teens; the solo ocean voyage of Jessica Watson; the Baylor basketball prodigy who coldcocked an opponent in the heat of a game, breaking her nose, and whose coach, commenting on her player’s action, noted “While she looks like this big, big woman out there, she’s really a kid when you’re around her….And we forget that”; and the serious case of Omar Khadr (just now, after years in prison, coming to trial) as discussed by the psychologist Laurence Steinberg. Also, popular pieces about the literature written for and about young adults have been appearing in recent magazines and newspapers. And, we must also include the extensive research and deliberations on adolescent reading habits, literacy policy (e.g. statements found in the NCTE [End Page 1] and the IRA), and educational reform. Amid this attention, Young Adult Literature (YAL) remains a growth industry. We should not be surprised. Not only are trade publishers offering new fiction titles and touting new authors, but the educational publishers are marketing new course textbooks, while they update older ones, to aid in the teaching of the genre. Such texts are often required for undergraduates and graduate students studying to become English teachers. Even though No Child Left Behind has meant a more general focus on “real” literature with YAL relegated to trying to spur on less able readers, public school English departments have begun to include more YAL in the curricula.1 (This has been a painfully slow process that is now, thankfully, beginning to gain traction in many areas of the country.) New anthologies of stories and poems geared toward YA’s continue to appear from various publishers. A myriad of articles in newspapers and magazines have discussed such topics as death wishes in teen fiction, the parent problem in Young Adult Literature, and the coming of age of YAL. After all, adults are reading these books now, especially books about misfit teens and fantasy worlds. Another factor sparking renewed interest in YAL is the author crossover factor. Writers usually not associated with YAL, such as Sherman Alexie, Francine Prose, and Jim Shepard, just to name a few, have jumped headlong into this sea and made noticeable splashes in the genre. It must be noted that long before the entry of these writers, established YAL authors pushed and redefined the boundaries of our conceptions of Young Adult Literature, moving the genre forward in new, exciting ways: YAL writers such as Walter Dean Meyer, Robert Cormier, Chris Crutcher, Chris Curtis, Nancy Farmer, Judy Blume, Kathryn Lasky. Given the burgeoning attention to YAL from the media, writers, and publishers it is quite natural for academics to set their sights on it in invigorating ways. Thus we have eleven substantial examples of new trends toward reexamining YAL. These essays, the topics for this special issue of Studies in the Novel devoted to current ways of thinking about Young Adult Literature, demonstrate that it is, indeed, a hot time not only to be writing but to be studying YAL, to be rethinking and re-conceptualizing YAL as a genre. Given the genre’s lengthy, illustrious literary history, it should not be surprising that the academy, too, wields its critical...

The Last Half Hour of the Day: An Anthology of Stories and Essays That Have Inspired Physicians

The Last Half Hour of the Day: An Anthology of Stories and Essays That Have Inspired Physicians

Themes and Metaphors in Songwriting with Clients Participating in a Psychiatric Rehabilitation Program

ABSTRACT: use of metaphor in clinical settings has taken on an assortment of forms and received prominence within the growing body of music therapy literature. This paper will explore the role of metaphor as discussed in the general therapy literature and, specifically, in the music therapy literature and the literature on songwriting within music therapy. Two case examples from clinical work will be provided illustrating the themes and metaphors of two short songs written during two separate open music therapy groups in a psychiatric rehabilitation center. Stories have been used for centuries to entertain and educate children and adults of all ages. Every culture has its own anthology of stories, which serve to pass on to new generations the morals, values, and rituals of the culture through simple but profound wisdom. Many stories, which are often centuries old, offer valuable insight about philosophies and values. These stories or teaching (Rossi, 1982) have been recognized by psychotherapists and counselors as useful metaphorical tools for therapeutic change, including acceptance, empowerment, developing wisdom, and healing (Burns, 2001). Metaphor Lakoff and Johnson (1980) have defined metaphor as one thing in terms of (p. 3). It originates from the Greek word metapherein to transfer (Esparza, 2001). When metaphors are used therapeutically, feelings, thoughts, relationships and beliefs are transferred from one area of experience to another (Burns, 2001 ). Esparza (2001) has stated that a therapeutic metaphor is a symbolic container of and a tool of transformation. It is another means of communication and may take the form of a word, turn of phrase, object, symbol, anecdote, or story that represents complex emotions or situations. Levitt, Korman, and Angus (2000) believe that the power of the metaphor lies in its ability to describe the essence of an emotion more clearly and accurately than a descriptive, emotional label or adjective. Metaphors in therapy are used to encourage people to look more deeply at the relationship between the reality of their actual life experience and the manner in which they describe their life. They can represent the unconscious and amplify understanding and meaning. According to Zuniga (1992), The impetus for the use of metaphor is the knowledge that a person may take a metaphor literally on the conscious plane yet unconsciously perceive its symbolic meaning (p. 56). indirect and descriptive nature of metaphors has allowed a strongly defended affective part of the personal ity to be reached that would otherwise be unreachable in more direct ways (Leetz, 1997; Liftman, 1985). Carl Jung used the term symbol rather than metaphor, yet his definition of symbols is also the essence of metaphor (Bums, 2001). As Jung (1964) has explained, A word or an image is symbolic when it implies something more than its obvious and immediate meaning. It has a wider 'unconscious' aspect that is never precisely defined or fully explained. Nor can one hope to define or explain it. As the mind explores the symbol, it is led to ideas beyond the grasp of reason, (p. 21) Metaphor in the Therapy Literature diversity and usefulness of metaphor has become recognized in the counseling and psychotherapy arena. Bruno Bettleheim's (1977) text Uses of Enchantment: Meaning and Importance of Fairy Tales describes how children benefit from metaphorical tales. It has been recognized that these tales not only entertain but also offer moral education, insight, awareness of the possibility of human frailty, and they teach adaptive behavior (Barker; 1985; Burns, 2001 ; Zuniga, 1992). For instance Burns (2001) has written of the use of Zen stories in order to teach wisdom and encourage the focus on the present, rather than on the future. use of metaphor has been incorporated into many therapeutic models such as cognitive therapy (Kopp & Gaw, 1998) where propositional cognition is combined with imaginai and metaphoric cognition modalities, providing insight and change. …

The Palimpsest Project

Palimpsest: 1) A manuscript on which more than one text has been written with the earlier writing incompletely erased and still visible. 2) A place whose older layers or aspects are apparent beneath its surface. The Palimpsest Project will create a digital, illuminated manuscript using the journals of the dead and a shifting population database. An intersection of The Archive, technology and storytelling, this ‘manuscript’ – an interactive video installation - will breathe life into East-Central Illinois’ history, bridging past and future with an anthology of interconnected stories stretching back beyond memory, just below the surface, incompletely erased.