Fellow Writers Research Articles

Transmission and Agreement: Reading and the Contemporary Northern Irish Novel

Transmission and Agreement: Reading and the Contemporary Northern Irish Novel. This paper evaluates the capacity of the contemporary Northern Irish novel to act as an agent of transmission for a ‘post-Troubles’ readership, one distanced by a generation from the 1998 Good Friday Agreement that symbolised the partial end of sectarian violence. The critic Liam Harte suggests that “no part of modern Europe (if not the world) has greater claim than Northern Ireland to the mantle of most-narrativized region”, but the transmissive function of fictional works in this context remain under-critiqued. Here, I assess the aspirations of novelistic narrative to cater for what Premesh Lalu has described, in the context of post-apartheid South African art forms, as ‘psychic repair’ (Undoing Apartheid, 2023). The essay engages the 2018 novel Milkman, by Northern Irish author Anna Burns, to ask how fictional narrative transmits the detail of the past across a generation first, in parallel to other literary and artistic genres, and second, in relation to an expanding archive of ongoing legal tribunals and government incentives directed towards the production of an ‘official history’ for Northern Ireland. Through attention to the self-conscious foregrounding of forensic reading practice by Burns and fellow writers, I show the necessary place of fictional recovery in the field of political and cultural memory. Keywords: Troubles, Northern Irish fiction, transmission, memory, generation

Monograph review: Kikhney, L.G., & Kruglova, T.S. (2023). “The poet is the answer...”: lyrical addresses in the works of Marina Tsvetaeva. 2nd ed., ex. and add. Moscow, MAKS Press, 232 p. (in Russ.)

The monograph by L.G. Kikhney and T.S. Kruglova, which examines a number of theoretical, historical and literary problems related to lyrical addresses in the poetry of M.I. Tsvetaeva, is reviewed. An algorithm for studying address and dialogical attitudes in Tsvetaeva’s lyrics is proposed, developed on the basis of a study of the extensive poetic material of the poet’s lyrical addresses to family, lovers and fellow writers.

Exploring Plagiarism Behavior in Higher Education

This study aims to explore plagiarism behavior in higher education. This study employed a qualitative method with a case study design using the reflective notes technique to collect data from the participants. The data were collected through online submission. The authors, at this moment, employed a qualitative method by assigning the participants to write reflective notes to obtain the true responses to various questions. The approach used in this study is a case study approach to understand the object studied. Ten students of Universitas Negeri Makassar were invited to participate in this study, but only six met the valid reflective notes. The study found that students have different views on plagiarism behavior. Some problems highlighted in this study related to plagiarism behavior, such as lack of training in proper writing techniques, academic dishonesty, lack of access to library resources, lack of admiration for fellow writers, and little or no consequence for plagiarism cases.
 Keywords: plagiarism behavior, higher education, case study, reflective notes technique

Роль межличностных отношений в становлении личности (на примере жизненного пути Ф. М. Достоевского)

The environment, contacts with people from biographies provide inexhaustible information for understanding the meaning of personal relationships. In modern society, there is a high interest in the life and work of F. M. Dostoevsky as a deep thinker and a brilliant writer. The article considers Dostoevsky's social circle in the meaning for the formation of his personality in unity of inner content of life and its external outline, including the circle of communication in different periods of life. In this regard, the influence of parental family, family ties and friends of youth, social circle in hard labor and exile, literary relationships, as well as relationships with the clergy are analyzed. This analysis is carried out in connection of biographical facts with the data of scientific literature on interpersonal relationships in their significance for personality. Not only relatives, friends and fellow writers, but also people who seemed to be quite far away left their mark on Dostoevsky's life. It is shown that in the process of gaining personal maturity, a gradual autonomy of the subject from life circumstances occurs throughout life, when a person with a mature personality acquires the ability to behave independently of circumstances and moves on to conscious self-government. The presence of a self-development strategy is an important indicator of a person's reaching a level of maturity and experiencing life satisfaction.

Embattled National Topics

Although Poe never worked out a systematic relationship between his political and philosophical thought, or relied entirely on the South for his conceptual framework, the Southern argument seems to have been indispensable to him, it created that transitional area which helped formulate its perceptions and language: the means by which he saw and constructed the world. Edgar Allan Poe is shown to draw on both individual and national, or rather sectional, Southern fears, much like fellow writers, who struggled with by and large similar issues.

Graffiti Writing as Creative Activism: Getting Up, Sheeplike Subversion, and Everyday Resistance

Abstract Is graffiti writing creative activism? In this paper, I challenge commonly held beliefs that graffiti writing is politically inert. On the contrary, I argue that graffiti writing is an example of creative activism. Rather than being a narcissistic form of vandalism, primarily directed at increasing one’s fame in front of an esoteric group, that is, fellow writers, writing is a form of everyday resistance allowing its practitioners to challenge authoritarian power. In questioning dominant hierarchies, graffiti is a powerful tool to help correct a specific instance of spatial injustice: the unequal distribution of access to urban surfaces for self-expression in the city, where corporations and political elites hold an unjustified monopoly over visual communication.

Герои-читатели в романе «Бесы». Грустное торжество «Апокалипсиса»

The paper analyses the phenomenon of being a reader compared with the phenomenon of being an author in Dostoevsky’s novel The Possessed, which has got the reputation of the most literary novel of the writer. For Dostoevsky, who was an intense and all-consuming reader from early youth, the purpose of reading was to draw from the books he read the art of creation, to take lessons in the craft of writing from fellow writers. In The Possessed the characters, engulfed by the powerful passion of literary creation with all its risks and adversities, form a kind of “authors’ union.” However, it is also a “readers’ union,” and the selfless experience of being a reader, devoid of egoism and ambition, proves to be constructive and transforming. Various and multifaceted books are involved in the lives of the characters of The Possessed. They turn to books for advice, consolation, or as a warning of danger. Of special importance are “well-thumbed books”: quite often, they tell us about their readers more than words and actions. The book that the author set on a character’s writing desk sometimes contains both the riddle of the character and the solution to it. The paper shows how, as the events in the novel become more and more macabre, leading to the disaster, the tone and the contents of literary reflections change radically. After many calamities in the universe of the novel remains the only Book around which the characters try to gather: the Apocalypse. The Apocalypse in The Possessed is indeed a Book in the book, and we can see how the novel’s characters strive to understand its message and accept it.

Motivations for Patronage: Early Modernist Literature as a Case Study

Patronage of early modernist English-language writers is investigated, drawing upon biographical source material. The process of identifying patrons started with Imagist poets in the first decades of the twentieth century followed by a search for their social connections with fellow writers and patrons. Fifteen patrons were identified who brought new money into the network of connections, twelve of them women. Analysis of their personal characteristics reveals a distinctive pattern of substantial, inherited financial resources, education, literary interests and unorthodox lifestyle, notably for the women in the sample. Explanations of motivation in terms of social identity, gift exchange and co-creation are discussed.

Cathedral of Power: Battersea Power Station in Dystopian Visual Culture

Cathedral of Power: Battersea Power Station in Dystopian Visual Culture

Strategies to Develop Resilience: Lessons from a Civil Rights Activist, a Scientist, and an Astronaut.

Strategies to Develop Resilience: Lessons from a Civil Rights Activist, a Scientist, and an Astronaut.

The Keeper’s letters. From Yury Dombrovsky’s correspondence with friends and colleagues about The Keeper of Antiquities [Khranitel drevnostey] and other matters

It appears that existing collected works and editions have been misleading as to when exactly Yury Dombrovsky started writing his novel The Keeper of Antiquities [Khranitel drevnostey]. This hitherto unpublished collection of annotated correspondence between Dombrovsky and his friends and fellow writers not only reveals the year when he began writing his book, but also provides an invaluable source of biographical knowledge that sheds light on the later Moscow-based period of his life (1955–1978) and, specifically, on the favourable period during the Khrushchev Thaw, when Dombrovsky’s books finally appeared in print. Among his correspondents and people mentioned in the letters are N. Anov, I. Ehrenburg, N. Mandelstam, S. Markov, Y. Kazakov, and others. Interestingly, the collection contains a letter where, without naming the author and paraphrasing the book’s title, Dombrovsky offers his view of the recently published Solzhenitsyn’s One Day in the Life of Ivan Denisovich [Odin den Ivana Denisovicha].

Day Seven

Day Seven Melissa Helton (bio) It’s been a week. And I don’t know what to say. It is so big. I can say it is three a.m. and my cat inexplicably woke me up at the same time that I stirred on July 28th, feeling queasy and uncomfortable enough that I sat up in bed in the dark, wondering if I needed a Tums, wondering if I was going to be sick, wondering why I felt so terrible. And then [End Page 78] I looked at my phone, which was silently blowing up with missed calls, texts, and messages. I did not go back to sleep. I can’t this morning either. I can give a record of events. How in the preceding days I had been in the joy of the forty-fifth annual Appalachian Writers’ Workshop, the first fully in-person workshop since the pandemic began. I had finished leading the Troublesome Team Trivia contest and driven home instead of staying on campus that night. So when the flood hit in the wee hours of that Thursday morning, I was able to act as remote communication, spending a literal eleven hours on my phone. I began relaying information across campus from an hour away since I had one contact with cell service in each of the four areas where the workshop writers were stranded by the flood water. Then arranging rides home for those whose cars had washed away or were four feet underwater, relaying road condition information, answering the concerns of writers not on campus. I can tell you how those eleven hours were filled with fear and then joy as I learned all my friends, teachers, mentors, and fellow writers were safe on and off campus, and managed to eventually make it home. I can talk about my first view of campus on Friday. The disorientation of book tables still set up for the remaining days of the writers’ workshop in one place, and broken glass, splintered wood, upended desks, and flood mud in others. The donations. The distribution. The crying community members who lost everything, or lost nothing and were heartbroken for others. The calls and texts and emails and social media posts and questions and best-guess decisions and donations and meals and stunned faces and hugs from strangers and mud and old photos and meals and water bottles and questions and questions and a few hours’ sleep at night to do it again for a week straight. [End Page 79] I can talk about being in charge of saving our archive. Ninety-five percent of the material was wet, seventy percent of it also covered in mud. Books, handwritten records, photos, quilts, baskets, files, silver nitrate negatives—precious historical items significant to us and the Appalachian region. I can describe standing there in the archive, my two teenagers sweeping the dark scene with flashlights as we sloshed through three-inch putrid mud, and how it was so big a disaster I didn’t know where to start, completely unqualified for such an important and time-sensitive task. And how that feeling has not gone away this entire week as we’ve hurried to do what we could. And the list of names and organizations who have emailed me advice, websites and tutorials, came on site for hours or days, helped pull materials from the molding rooms, helped make these sometimes educated and sometimes uneducated decisions, arranged for transport of documents or offered their freezer space for preservation—it’s a long list. If I began naming people and organizations, for each one I could pull forth here, I would forget at least six. Some names I never got in the first place. Our Great Hall became our supply distribution center and is also a working archive rescue center. Tables of diapers and garbage bags sit across from clotheslines of irreplaceable photos and slides slowly drying as folks hurry back and forth. And the only reason these items are being rescued is because of these volunteers. I can say how everyone has been thrust into positions where they are scrambling to learn what needs done and how to do it...

Representation of Women Writers in Galician Emigration Press in Buenos Aires: Avelina Valladares and Rosalía de Castro as Displayed in Galician Almanac [Almanaque Gallego] (1898–1927)

Galician Almanac in Buenos Aires [Almanaque Gallego de Buenos Aires] (1898–1927), founded and directed by Manuel Castro López, consists of a true collection of Galician knowledge made up of numerous works of historical and literary research by intellectuals and writers from both sides of the Atlantic. In its pages there are plenty of references to two contemporary fellow writers who have attracted our attention and become the subject of this brief study: Avelina Valladares and Rosalía de Castro. This paper examines the differences and proximities in the representation of women writers as highlighted by the magazine around these authors, considering that they are misadjusted characters in terms of the behavior standards of their time. In this sense, our study analyses how the Almanac… retrieves an imagery of the origins around the Galician emigrates, by pointing out that both Rosalia de Castro and Avelina Valladares took part in the setting of new literary and political standards. By this, the Almanac builds upon these women the sense of a new beginning for Galician emigrates in America.

The Letters of Ernest Hemingway, V: 1932–1934 ed. by Sandra Spanier and Miriam B. Mandel

Reviewed by: The Letters of Ernest Hemingway, V: 1932–1934ed. by Sandra Spanier and Miriam B. Mandel William Blazek The Letters of Ernest Hemingway, V: 1932–1934. Ed. by S andraSP anierand M iriamB. M andelin association with K ristaQ uesenberry, V ernaK ale, and A lbertJ. D efazio III. Cambridge: Cambridge University Press. 2020. lxxxviii+699 pp. £22.99. ISBN 978–0–521–89737–2. Patrick Hemingway comments about his father in this book's Introduction: 'I think that his letters are one of the great records of the first two-thirds of the twentieth century' (p. xxviii). The fifth volume of the Ernest Hemingway's Letters Project, spanning the period from January 1932 to mid-1934, provides firm support for that assertion, building a vibrant picture of the author in his prime. During these two and a half years, Hemingway completed his bullfighting-cum-writing manual Death in the Afternoon(November 1932) and published his third collection of short stories, Winner Take Nothing(October 1933), along with other stories for popular [End Page 494]literary magazines and non-fiction articles for the newly established Esquiremen's magazine. Behind the public products of his craft and the growing celebrity of the man, his letters reveal the compulsive drive and sheer hard labour that went into his writing, 'my life work' (p. 369), always honed to his own exacting standards. Confidently telling his editor at Scribners, Max Perkins, that ' all the timeI can write better stories than anybody else writing' (p. 542), he explains: 'I am trying to make, before I get through, a picture of the whole world—or as much of it as I have seen. Boiling it down always, rather than spreading it out thin' (p. 508). He was a tough but fair negotiator with his publishers during these early years of the Great Depression, insistent on the quantity of photographs to be included in Death in the Afternoon, berating them for not advertising Winner Take Nothingstrongly enough, admonishing them for delays in providing proofs or timidity in censoring words, while always determined in his aim to write 'truly'. The sources for most of his writing were activities that thrilled and tested him. The previous volume of letters chronicled his introduction to big-game rifle hunting in Montana and Wyoming, and this collection sees him developing that avocation as well as immersing himself in deep-sea fishing in the Gulf of Mexico between Key West and Havana. The final portion of these letters finds him on his first African hunting safari, travelling with his second wife, Pauline Pfeiffer, on an expensive trip funded by her generous uncle Gus (a reliable benefactor during the marriage). 'I like to shoot a rifle and I like to kill,' Hemingway reported to a journalist friend, 'and Africa is where you do that' (p. 374). The carnage was severe. Between the Montana mountains, Caribbean waters, and African plains his contribution to the Anthropocene included the killing of grizzly bears, elk, eagles, grouse, jackrabbits, some unfortunate magpies and doves, fifty-four swordfish in one season—among them a record-breaking 12 foot 8 inch long, 468-pound black marlin and a 119.5-pound sailfish—and lions, rhinos, buffaloes, kudus, impalas, elands, gazelles, other antelopes, a leopard, cheetahs, zebras, warthogs, several hyenas, and various native birds. The excitement and challenge of marlin fishing was his chief passion during these years, engaged through intense research and experience in the same way in which he became an expert analyst of bullfighting. In time, when knowledge settled into reflection, he would write books about the Caribbean and Africa; but in what would prove this mid-life period, he wrote short stories in the morning, from 5 a.m. or earlier, leaving all afternoon for fishing—by the end of this volume in his new 38-foot cabin cruiser, the Pilar. Battling with giant bears and powerful fish proved easier on his ego than the increasingly antagonistic relationship Hemingway developed with critics, magazine editors, and fellow writers. The origins of his fight with Max Eastman over a critical review of Death in the Afternoonare presented...

The Letters of John McGahern ed. by Frank Shovlin

Reviewed by: The Letters of John McGahern ed. by Frank Shovlin Yen-Chi Wu The Letters of John McGahern, edited by Frank Shovlin (London: Faber and Faber, 2021, 880 p., hardcover, $40) In the 2005 documentary A Private World, John McGahern is seen in his Leitrim farmhouse, walking around the neighborhood with his dog, and reading books in his humble study room. These images seem to confirm a common perception of McGahern as a rural Irish writer, a wordsmith disengaged from the Dublin literary establishment. In his early career, when the controversy surrounding the banning of his second novel, The Dark (1965), placed him in the limelight, the young writer kept a low profile. In his later career, when the success of Amongst Women (1990) attracted renewed public attention, the mature writer stayed mostly at his country homestead, keeping publicity activities to a minimum. Partly because of his reticence, much of McGahern's life—private and professional—remained undisclosed. In this regard, The Letters of John McGahern, edited with admirable professionalism by Frank Shovlin, is an important contribution to McGahern scholarship, painting a fuller picture of McGahern as a literary man and a professional writer. The subjects of McGahern's literary relationships and biographical stories have attracted much critical attention, but most scholars focus on the writer's early career. John Killen's edited work, Dear Mr McLaverty (2006), is the first collection of McGahern's letters. While it gives us a glimpse of McGahern's epistolary style, it is restricted in scope, collecting only his correspondences with fellow writer Michael McLaverty. Similarly, Denis Sampson's Young John McGahern: Becoming a Novelist (2012) centers around the formative years of McGahern's writing career. Sampson's short biography shows us that McGahern was uninterested in the literary scenes of Dublin's Grafton Street—which he later dubbed "the Dublin pub crowd"—dominated by big personalities such as Patrick Kavanagh; nor was he comfortable in Mary Lavin's literary salon, which McLaverty encouraged him to attend. Reading Sampson's account, one is left with the [End Page 137] impression that McGahern was an outlier. McGahern's Memoir (2005)—published in the United States as All Will Be Well—does little to rectify this view of him as a lone writer. The memoir is more about his parents than himself. Most of his adult life, especially his later career, is skimped in the end. The Letters of John McGahern is thus a significant contribution: it places McGahern front and center, while the figures of his parents retreat to the background and his early and later careers receive equal attention. Among its achievements, the book complicates the common perception of McGahern as a recluse by showing the networks that he built around himself; it also shows a professional writer at work from the mid- to late twentieth century. In the introduction, Shovlin writes: "contrary to certain received views of him as an isolated gentleman farmer," McGahern "travelled a good deal and lived at many addresses in Ireland, England, the United States and France." McGahern's second wife, Madeline, is an American immigrant, and she owns properties in Paris. The couple vacationed in France regularly. Moreover, many of these relocations were facilitated by university fellowships. McGahern was a visiting fellow or writer-in-residence at numerous institutions outside Ireland, including Colgate University (where he returned more than once), University of Reading, Durham University, Newcastle University, and University of Victoria in Canada, among others. He formed good relationships with his colleagues in these institutes. Through their correspondences, we see McGahern working as a professional writer, engaged in literary events, giving lectures, and doing the odd editorial work. For instance, he proposed to edit a collection of Irish prose writings for Faber, which did not come to fruition; he also championed literary works that he admired—under his recommendation, Vintage reissued American author John Williams's Stoner (1965), which became a publishing sensation. McGahern might have kept his distance from the Dublin literary circle, but he was certainly not an isolated gentleman farmer; he had established himself in a global literary network. Similarly, although he shunned the big personalities in Dublin's literary pubs, he maintained good...

Social Media Application Development in Android with Firebase

Sharing thoughts and information through internet has become crucial these days. An online writing enables the users to communicate with other people in a fast and convenient way. Considering this, the online writing application must be able to share the content or any other useful text in a faster way with minimum delay or with no delay. Firebase is one of the platform that provides a real-time database and cloud services which allows the developer to create these applications with ease. Instant writing can be considered as a platform to maintain communication. Android offers a better platform to develop various applications for instant writing compared to other platforms such as iOS. The main objective of this paper is to present a software application where people across the globe with similar interests can connect with each other and share their thoughts, insight, and emotions. The application developed will enable the writers to share their amazing content with the readers and also with the fellow writers. This application will be based on Android with the backend provided by Google Firebase.

From the Editor’s Gable

The essays in the Spring 2022 issue of the Nathaniel Hawthorne Review cover a range of topics from Hawthorne and Christianity to Hawthorne’s view of the super/natural and his understanding of Native American culture; and from Hawthorne and nineteenth-century news/propaganda to a consideration of Hawthorne inflected through scientific, twenty-first-century understandings of digital knowledge.The two lead essays suggest a welcome resurgence of interest in The House of the Seven Gables. In the first essay, “Christian Moralism in The House of the Seven Gables,” Jonathan Cook presents a case for Hawthorne’s views of secularized moralistic forms in mid-nineteenth-century Protestantism through an analysis of the Pyncheon and Maule families amidst the backdrop of their feuding history in the novel. Cook brings his background in biblical history to bear on a religious dimension under-remarked since the work of Hyatt Waggoner.1 In fact, the Fall 2022 issue of the Nathaniel Hawthorne Review, on Hawthorne and religion, will be guest-edited by Cook. In the second essay of this collection, “‘A kind of privilege to haunt’: Settler-Structures, Land-Based Knowledge, and the Agency of the (Super)Natural in The House of the Seven Gables,” CJ Scruton represents another realm of Hawthorne, the supernatural, in Hawthorne’s famous second novel, a topic that is the recent focus of critical exploration.2 Scruton’s approach is unique in their consideration of the nexus between the natural and supernatural realms and the concomitant anxieties revolving around the early New England settlers’ conflict with natural spaces and Native American presence. Together with CJ Scruton, I am planning a special issue of NHR on Hawthorne, nature/Hawthorne, and the environment for our Spring 2023 issue. Please note the details for “Call for Papers” for Spring 2023 is at the end of this issue.The third essay in this issue is quite timely, as it explores the idea of fake news and conspiracy theory so prevalent today. In “‘A respectable narrative’: The Viral Load in ‘Mr. Higginbotham’s Catastrophe,’” Hannah Murray makes the case that Dominicus Pike, the main character of the story, attempting to increase his importance in terms of social mobility and cultural capital, comes up with stories (which move from gossip, to oral tales, to print media). However, his comeuppance is that his new and fraudulent sense of identity is his unmaking. The final two essays in this issue speak to a positive use of technology—in the realm of computers, as a source for positive communication. Gale Temple, in “The Hermeneutics of Implication and Inference: Actor-Network Theory, The Scarlet Letter, and the Hawthorne Digital Archive,” explores how the Hawthornean model for community-making offers us a creative way of connecting literary interpretation with digital resources. In the final essay of this issue, “A Meaning Apart from Its Indistinguishable Words,” Erik Fredner analyzes how Hawthorne is different from his fellow writers and how his ambivalence can be detected through quantitative methods; Fredner’s analysis culminates in showing the satirical elements of “The Procession of Life.”The Spring 2022 issue ends again this year with a carefully wrought annual bibliography written by my former graduate student Alexis Grainger, who has an eye for detail and precision. Finally, we conclude the issue with, unfortunately, news again of the death of another important scholar, Joel Myerson, who has brought scholars many ideas and materials (and a sense of drama) to help us understand the American Renaissance better.

Anna Frajlich: Departures, Returns, Memory

Anna Frajlich: Departures, Returns, Memory

Galdós. Cien años de actualidad ed. by M.a Ángeles Varela Olea

Reviewed by: Galdós. Cien años de actualidad ed. by M.a Ángeles Varela Olea Dorota Heneghan M.a ÁNGELES VARELA OLEA (ed.). Galdós. Cien años de actualidad. Bern, Peter Lang, 2021. 296 pp. Galdós. Cien años de actualidad is a collection of fifteen essays written as a tribute to Galdós's work and legacy to commemorate the centenary of his death. As M.ª Ángeles Varela Olea recounts in the introduction, the writer's influence goes beyond the literary and cultural spheres of nineteenth- and early-twentieth-century Spain in the sense that his views and approaches to the challenges of the world in which he lived continue to resonate in our realities. Varela Olea organizes her collection in six sections that enrich a growing body of scholarship on Galdós's relevance to the present, his journalistic work, literary techniques, his impact on his fellow writers, theatrical output, stage, and television adaptations of his novels as well as translations of his oeuvre abroad. The first section contains three essays that center on the author's life and writings as a source of continuing inspiration to Galdós's scholars. In the opening chapter, Noël Valis magnificently traces the overarching trajectory of multiple approaches and intertwining themes in contributions to Galdós studies by North American scholars. In this essay, Valis accentuates interdisciplinary research as the key characteristic of recent studies and pinpoints a fresh challenge for future investigations––finding new modes to convey the beauty and complexity of the Galdosian universe to a broader audience. Through close readings of El doctor Centeno and the analysis of the Phoenix myth, Yolanda Arencibia explores in her essay the significance of resilience in Galdós's characters and the author's life. The final chapter delves into Galdós's journalistic coverage of the 1865 pandemic in Spain in the context of the novelist's interest in science and personal views on religion. In it, Varela Olea successfully makes the case that Galdós's rejection of the coupling of politics and religion, so central to many of his literary creations from the 1870s onward, can already be traced to his little-studied articles on the pandemic in La Nación. The second section, comprised of two chapters, continues with a focus on the author's journalistic work. In the first, Pilar García Pinacho and Carmen Menéndez-Onrubia address the topic of charity in Galdós's "La hija mimada." García Pinacho and Menéndez-Onrubia read the short story, written in 1885 for the special edition of El Día to raise funds for earthquake victims, as the author's praise of evangelical charity and his scorn of philanthropy motivated by society's self-interest. In the second, Isabel Román Román studies Galdós's contributions to La Prensa and La Nación and offers a fresh take on the connections between the author's sketches of characters and scenes of everyday urban life in his press articles and fiction. The third section turns readers' attention to Galdós's literary techniques. Building on previous research on the intersection between pictorial and literary art in Galdós's works, Francisco Estévez details the function of ekphrasis in the author's depiction of his characters in his turn-of-the-century narrative. Multiple perspectives, different narrative voices and changes in focalization are only some of the author's techniques that Donatella Siviero studies in her essay on psychological and social violence in Doña Perfecta. The final chapter in this section explores the frequent reappearance of familiar characters in Galdós's narrative. In it, Assunta [End Page 237] Claudia Scotto di Carlo contends that the reintroduction of recurring characters enabled Galdós to create the effect of a multidimensional reality and unity within his works. The fourth section brings into focus Galdós's relation with his fellow writers. In his essay, Antonio Arroyo Almaraz studies the exchange of letters between Galdós and Narcís Oller and provides extensive evidence of similarities in their representation of urban space in Fortunata y Jacinta and La febre d'or...

Sposób kreowania postaci Juliusza Słowackiego w przestrzeni internetowej. Rekonesans

The article concerns the ways of creating Juliusz Słowacki’s image online. The problem is discussed based on graphic material (memes, facetiae) and fi lm material (productions in the series“Historia bez cenzury” [History without censorship], “Wielkie konflikty” [Great conflicts]). The authoress briefly discusses the viability of the Romantic paradigm in contemporary Polish cultureand the reminiscence of this presence, which is key in the image of the poet shaped by authors and internet users. Next, the authoress characterises the artist based on the collected research material.
 In most cases, Słowacki is presented as a negative character — a cowardly, pretentious, conceited man, jealous of the poetic talent of his fellow writers. He is often confronted with AdamMickiewicz, a character depicted much more positively.
 Summing up, the authoress considers the reasons for this type of simplification of the image of the Polish bard on the internet, and concludes that it is the result of building a schematic image of the world based on stereotypes; this image then begins to function in the collective memory of society.