Real Author Research Articles

Can ChatGPT affect health literacy?

Abstract Background ChatGPT is a large language model based on artificial intelligence, which nowadays finds application in various fields, including medicine. Objectives To investigate the usefulness of ChatGPT related to health literacy and to highlight its potential limitations. Methods We searched PubMed/MEDLINE for published research and articles that reviewed ChatGPT in the context of health literacy, written in English over the past five years with free full text access. All original articles were screened. Results A total of 53 publications were found. Twenty-five publications met the inclusion criteria and were included in the review. Most of the works presented a positive opinion towards the use of ChatGPT. The authors of six articles believe that ChatGPT generates more readable papers, while four of them believe the opposite. In four articles authors found out possibility to simplify text. The negative sides relate to the possibly insufficient education of users, the accuracy of the information, potential bias, dependence on the outdated data, and the ethical problem of the real authors not being cited, and therefore not recognized for their work. Conclusions According to the conducted research, ChatGPT represents an opportunity to improve health literacy by generating accessible and comprehensible information about health. It has also been shown to improve the readability and accessibility of public education materials on selected health topics. Furthermore, while AI models like ChatGPT can serve as a reliable source of health information, they should be used as an addition to professional medical consultation, and not as a standalone advice service. Key messages • ChatGPT represents an opportunity to improve health literacy. • AI models like ChatGPT can serve as a reliable source of health information, but they should be used as an addition to professional medical consultation, and not as a standalone advice service.

Mediumship and stylometry: Exploring a new way of attributing authorship to mediumistic writings

Stylometry is still largely unexplored for applications in attributing authorship to mediumistic writings, as outlined in the subsequent literature review. Stylometry is a statistical method for analyzing authorship with a history to detect anonymous authors, e. g., J. K. Rowling as the real author of The Cuckoo’s Calling. Modern stylometry transcends literature analysis, applying to forensic inquiries, such as plagiarism detection, online security, and group identity characteristics. Historically, stylometric research unfolds in three phases: focusing on single numerical functions, statistical methods based on word frequencies, and contemporary use of machine learning. Authorship analysis includes three primary objectives: authorship attribution, verification, and characterization. It uses mathematical linguistics, information theory, and linguistic features like vocabulary richness, word frequency, and syntactic structures. Stylometric methods reliably detect authorship in imitation scenarios (pastiche) and have now also led to adversarial stylometry, which facilitates and identifies attempts at anonymization. Distribution patterns of features such as function words or punctuation can only be detected with high computing power and appear to contain too little content or emotion to be recognized by psi abilities of mediums. Imitation on a stylometric level has not yet been achieved by professional writers and does not appear to be one of the abilities of savants either, whose left hemisphere, including speech and language, is the least developed, which is why such genuine talent cannot be assumed in mediums either. Due to its undeniable successes, its quantitative and computational approach, and its potential to investigate a wide range of research questions, stylometry therefore appears to be a desirable auxiliary science for mediumship research.

Stylometric analysis of French plays of the 17th century

Abstract The automatic assignment of a text to one or more predefined categories presents multiple applications. In this context, the current study focuses on author attribution in which the true author of a doubtful text must be identified. This analysis focuses on the style of sixty-six French comedies in verse written by seventeen supposed authors during the 17th century. The hypothesis we want to verify assumes that the real author is the name appearing on the cover (called the signature hypothesis). In order to validate the reliability of two attribution procedures, we used two additional corpora based on 200 extracts of novels written in French, with thirty authors and 140 Italian novels authored by forty persons. After this verification, we propose an improvement of the Delta method as well as a new analysis grid for this model. Finally, we applied these approaches to our French comedy corpus. The results demonstrate that the signature hypothesis must be discarded. Moreover, these works present similar styles, making any attribution difficult to support with a high degree of certainty.

Qui volunt eos cognoscere, Argonautas legant

Abstract The late antique De excidio Troiae historia, supposedly written by a soldier in the Trojan War, Dares the Phrygian, encourages the reader to consult a work called Argonautae. This article discusses three possibilities of how to understand this reference—it could either be a comment by the real author of this pseudonymous work, or the supposed translator Nepos, or the ostensible author Dares. It argues that audiences in antiquity were familiar with the idea of literature written prior to the Trojan War, and debates the possibility that the Trojan Dares might refer to a poem about the Argonauts which was composed by the mythical Orpheus. It comes to the conclusion that the reference is intentionally ambiguous.

MANUSCRIPTS WITH FAKE CHATGPT-CREATED REFERENCES: A CASE STUDY

As a continued theme in citation abuses and the need to reform the culture of citation in academic publishing, as well as an extension of the exploration of authors’ rights, this letter highlights a case in which an author’s name was abused in a fabricated citation in a preprints.org preprint that was ultimately retracted. As a punitive measure, the preprints’ authors were blacklisted. The first author then republished (minus the previous co-authors) a modified preprint at another preprint server, Research Square, where it was also retracted for the presence of fictitious citations. In such cases, it is argued that authors whose names are abused in fictitious citations, created by ChatGPT or otherwise, as identified by real authors or the paper’s readers, should have the right to not want to be cited in this manner, because it may carry with it negative reputational consequences. There are also negative reputational consequences for journals which appear in fictional citations.

Cognitive Foundations of Ethical Literary Studies

In the 1980s and 1990s, an ethical turn began to take place in literary studies and in the humanities in general, leading to an increased interest in exploring the relationship between literature and ethics. The field that deals with this topic is now called ethical literary studies or ethical criticism. One of the less explored areas of ethical literary studies is the relationship between ethics and cognitive aspects of reading. In this article, I therefore analyse the neurobiological foundations of literary reading. I consider reading as a technology consisting of various embodied mental, emotional, motor, sensory, memory and other cognitive processes. The temporal and spatial dimension of the processes, which I also call “openness”, is particularly important. The latter conditions the diversity of reading on an experiential level and, finally, the possibilities of the relationship between literature and ethics, namely in relation to literary characters, narratives, implicit and real authors and readers.

Will ChatGPT3 Substitute for us as Clozapine Experts?

ChatGPT3 is a new artificial intelligence program released on February 13, 2023. The authors tested ChatGPT3 on February 18, 2023, and repeated the test a week later. They used their expertise on the effects of ethnic ancestry in the stratification of clozapine dosing and the new idea that they published in March 2022 that African-Americans need higher clozapine doses because they have higher clozapine clearance. In the first interaction on February 18, ChatGPT3 provided reasonable and very up-to-date information, which included a comment that patients of African ancestry have higher clozapine metabolism. The other 4 interactions became progressively more concerning as we asked ChatGPT3 to provide references to justify the latter statement. ChatGPT3 provided non-existent "references" using articles from real journals, with real authors, false PubMed identifiers, and false titles. Moreover, ChatGPT3 said that the first author wrote in 2003 that African-Americans had higher CYP1A2 activity when that did not happen until 2022. One week later, the second author repeated the same set of questions. This time ChatGPT3 described the opposite, that African-Americans have "lower" CYP1A2 activity and "slower" metabolism. ChatGPT3 provided another set of articles to justify the information; some were real but did not comment on clozapine metabolism in African-Americans while others did not exist. ChatGPT3 provided a mixture of truth, twisted reality, and non-existent "facts." Within one week it defended opposite positions regarding a clinically relevant issue such as using higher or lower clozapine doses in African-Americans.

AUTHOR, NARRATOR, HERO IN M.YU. LERMONTOV’S NOVEL A HERO OF OUR TIME: NARRATIVE POETICS

The article is devoted to the analysis of the correlation between the figures of the real author and the fictional author-narrator in the novel by M.Yu. Lermontov A Hero of Our Time. It is shown that as a result of the inclusion in the text of the second edition of the novel (1841) of the author’s preface, containing Lermontov’s polemic with the reviewers of the first edition, there was an interference of the “I” of the real creator of the work and the “I” of the fictional author, to whom the stories Bela, Princess Mary and the preface to the diary of the protagonist are attributed. It is significant that some of the biographical features of Lermontov and the fictional author coincide, and the two prefaces overlap. Thanks to all this, the effect of a non-trivial literary game arose, based on the illusion of the authenticity of the events set forth in the novel: the real author seems to get acquainted with Pechorin. This game is fundamentally different from the Sternian play and violation of the boundaries of the real and the fictional in A.S. Pushkin’s Eugene Onegin, whose main characters are represented both by real persons and creations of the author’s imagination. Unlike Pushkin and many contemporary Russian prose writers, Lermontov does not expose, but, on the contrary, hides the fictional, purely literary nature of his narrative. At the same time, the creator of A Hero of Our Time does not resort to literary hoax, does not directly try to pass off either the first-level narrator or Pechorin as the real authors of the novel or part of it. The story of A. von Chamisso The Extraordinary Story of Peter Schlemil could serve as a model for such a game, in which the central character, who tells a fantastic story of the events of his life, is an acquaintance of the author and his real-life friends.

A Century of Scholarly Neglect: Shakespeare and Greek Drama

In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.” (p. 6) This century-long consensus against Attic dramatic influence was reinforced by A.D. Nutall, who wrote, “that Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept.” (Nutall, 2004, p.210) Scholars have preferred to maintain that Plutarch or Ovid were Shakespeare’s surrogate literary mediators for the playwright’s adaptations from Greek myth and theatre. Other scholars, however, have questioned these assumptions, including Laurie Maguire, who observed that “invoking Shakespeare’s imagined conversations in the Mermaid tavern is not a methodology likely to convince skeptics that Shakespeare knew Greek drama.” (p. 98) This near-universal rejection of Greek drama as Shakespeare sources have profound philological implications. Indeed, this essay argues that the proscription against recognizing the Attic canon as an influence in Shakespeare has been driven by the belief that Will Shakspere of Stratford had, at most, an education that was Latin-based. The examples show that the real author had to have been exposed to both the Greek language and the Greek dramatists. Evidence for alternative candidates, including Edward de Vere, shows that many were schooled in Greek and that some even collected and supported translations of Greek works. It is my contention that Shakespeare’s dramatic imagination was actually fired by the Greeks, and Shakespeare research has clearly suffered from a century of denial.

Prophets Without Honor: From Galileo to Looney

There are many ideas in the annals of science that were once ridiculed because they deviated from established “truth,” only to be rehabilitated with the passage of time. Among them: Galileo (1564-1642), punished by the Pope with house arrest for challenging the Ptolemaic theory -- a theory taught by Aristotle -- that the sun revolves around the earth; Alfred Wegener (1880-1930), who developed the theory of the movement of continental drift (later known as tectonic plates), to explain why matching prehistoric fossils could be found in places such as Europe and South America, with no known land bridges connecting them; J. Harlan Bretz (1882-1981) who showed that only cataclysmic floods could explain erosion and land formation in the Pacific Northwest, rather than the then-current theory of gradualism and “uniformitarianism.” Senior scientists from the U.S. Geological Survey in 1927 humiliated him in public; Ignaz Semelweiss (1818-1865) observed that the incidence of “childbed fever” could be significantly reduced by the use of hand disinfectant in obstetrical clinics, c. 1847. He could not provide a medical explanation beyond his observation that maternal mortality was reduced to only 1% when hand washing with disinfectant was used. He was ridiculed for going against received medical practice and committed to an asylum by colleagues after supposedly suffering a nervous breakdown. There he was beaten by guards and died from an untreated gangrenous wound. It was not until Louis Pasteur confirmed the germ theory of disease and Joseph Lister showed the benefits of surgery using hygienic methods that his life-saving observations were credited. One can add to this list the name of J. Thomas Looney (1870-1944) who began researching the question of whether the name “Shakespeare” could be a pseudonym and, if so, who the author really was. Basing his work on attributes in the plays that might match little-known poets of the Elizabethan era with the real author, he identified Edward de Vere, the 17th Earl of Oxford, as the man responsible in his book Shakespeare Identified published in 1920. Criticized almost immediately, his research has nevertheless stood the test of time, with more and more people worldwide now arguing for Oxford in a debate that continues unabated. This paper looks at these personal histories as well as the psychology of why “authorities” feel a need to immediately reject challenges to established positions.

English

This paper introduces a new index, called ACR-index, to measure an individual’s scientific research output based on their publications, by taking the age, number of citations and rank of each paper published into account. The paper presents several real author examples to illustrate the proposed ACR-index and compare it to several related indices such as h-index, g-index, and i10-index. We believe that the proposed index provides a realistic measure that reflects the researchers’ impacts and their research accomplishments in the field especially to early- and mid-career researchers. It should be noted that the two researchers who have the same h-index will unlikely have the same ACR-index since it depends on the paper’s-age, citations and rank of each publication. Based on a small (a couple of dozen individuals) sample size, we observe that in the science and engineering field, on average, ACR-index scores between 8-12 seem common for assistant professors, and that individuals who have ACR index of 30 after 10 years of research activity characterize outstanding researchers; and those with ACR index of 60 after 30 years characterize unique outstanding researchers.

TDRLM: Stylometric learning for authorship verification by Topic-Debiasing

Authorship verification is the task of determining if a candidate is the real author of the provided sequences of texts. Stylometric learning is the study of the writing style by analyzing the textual data through computational approaches for many linguistic tasks such as authorship verification, authorship identification, etc. In recent years, Deep learning has been used as an effective solution to stylometric learning for authorship verification. However, most of the existing studies do not consider the semantic biases captured by the model, and the learned stylometric features include a strong indicator of the topical biases. During the extraction of stylometric features, we found that specific words related to the latent topics impact the performance of machine learning algorithms and, therefore, are not generalizable toward out-of-sample authors. In this paper, we propose a latent topic score dictionary with a Topic-Debiasing Representation Learning Model (TDRLM) for stylometric representation learning on the problem of authorship verification. The model applies position-specific topic scores on a topic-debiasing attention mechanism in order to adjust the tokenized texts based on the topical bias. The experimental results show that our proposed approach achieves the best performance with the highest Area Under Curve (AUC) of 92.47% for the Twitter-Foursquare dataset and 93.11% for the (ICWSM) Twitter dataset, both better than the state-of-the-art stylometric learning models and the up-trained language models.

Federico Garcia Lorca’s «Canciones Españolas Antiguas»: dialogue of the poet with Flamenco tradition

The relevance of the study The author’s interaction in his creative work with folklore is one of the main ways of shaping national composers’ musical school. Spanish music culture is not an exception. There was discovering the uniqueness of flamenco culture through the searching of musical personal identity during the end of the XIX–first decades of the XX century. Original rhythms, modes and harmony specialty were inspiring for composers who searched the code of musical national composers’ school. Federico Garcia Lorca was one of them. His work «Canciones Españolas Antiguas» became not only restrained documentation of folkloric finds. His scientific interest was realized there with his own well-known authored style what provoked us to have some doubts about song’s origin. Was that songs stylization or authentic? How high was composer’s influence percent? The answer can be founded only through assesses the knowledge of flamenco tradition. We could find out real author’s creative participation thanks determining authentic flamenco components in the songs. These are the reasons and became the basis of the proposed article.
 The main objective of the study is to characterize the collection "Spanish ancient songs" by F. D. Lorca as creative project which arose at the intersection of the tradition of flamenco and author's style.
 The methodology of study includes historical method (in searching of context and historical background creation of collection «Spanish ancient songs»), biographical method (for clarify details of creation the collection, musical environment what was connected with Lorca’s views on the folk), comparative (for the comparing folkloric sources with author’s variants) structural-functional, system analysis, genre-style what allows to give characteristic of collection and to prove it’ artistic integrity as a song cycle.
 Results and conclusions. In the process of studying «Canciones Españolas Antiguas», it became clear that the balance of authenticity and authorial activity in this case can be ascertained only by relying on the knowledge of general folklore paradigms.We found out genres as sources for building the collection which were taken from flamenco culture. The «oriental» intonation nature of melodies saturated with melismas, mostly of a dance nature, is preserved. But the composer does not soften all these characteristic features, trying to bring them to the panEuropean musical standard, on the contrary, he strengthens them by using dissonant harmonies. He brings the rhythmic sophistication of authentic samples to the point of unpredictability thanks to the frequent use of hemiola, accents on weak parts, and syncopation. Impetuous performance and rubato, characteristic of the para cantar form of life (flamenco music focused on the singer), the composer conveys with the help of laconic remarks about tempo, dynamics, articulation, touches.

Un début dans la vie par Mathieu Bermann

Reviewed by: Un début dans la vie par Mathieu Bermann Ann Williams Bermann, Mathieu. Un début dans la vie. P.O.L, 2022. ISBN 978-2-8180-5521-2. Pp. 176. Questioning one's own perspectives is never easy but is necessary, as human interactions show time and time again. Un début dans la vie reminds readers of this from the outset and quickly pulls us out of complacency and into self-reflection. Readers soon discover that the narrator is a writer himself and quite introspective, and they realize that this novel will not simply guide them through a Balzacian plot or character development (despite the hommage in the title). There will be much more. The intertwined stories of all the characters focus on a provincial French family drama, with at its heart, Malo, a horrid child. At four and a half years old he already has a vile reputation that has reached even the narrator, a close friend of Valentin, the creature's uncle. In the hands of a less-gifted writer the rather banal plot twists would not excite. The real richness of the book, however, resides in the questioning of perspectives that Bermann proposes throughout. At first glance, it seems he is giving us permission to judge his characters quite harshly. In the first chapter, "La barbarie," he sets up Valentin as the gossiping and somewhat unkind uncle responsible for the narrator's negative preconceptions of the little boy (whose actions, nonetheless, deserve the criticism they receive). He gives little quarter to Marie, Malo's mother, narcissistic and inattentive to her two children, and in the second chapter, aptly entitled "Disparaître," she does just that; she runs away, leaving her parents to watch over her children. But here's the rub: the author-Bermann does not let the narrator-author-maybe-Bermann get off scot-free. Malo, Marie, and all the characters have redeeming qualities, reasons for being who they are. And the narrator sees that he can't just go with what he's been told. And so, neither can we. By the time we get to chapter four, "Le roman de Malo," we know that there is a self-reflexive writer in charge of this book, and we see that he's taken over the literary encounter we're having. The somewhat disconcerting switch from the first-person narrator to an omniscient one was heralded by the chapter title, but we do have to pause to adjust as we read Malo's story and follow him through episodes in his life unknown to our initial narrator. In chapter five (and at this point, readers are sincerely grateful for the chapter divisions), our first narrator returns, and we relive moments, even with similar wording, from the beginning of the novel. But, and here's where Bermann excels, we cannot help but have a different perspective. In a sense, we know too much. The narrator-author takes responsibility for writing this life and even proposes a series of ninety-nine numbered optional events that Malo might live. The novel's last chapter explores the question "Pourquoi écrit-on?" (167) and the effect that writing has on reader and writer alike. One certainty? In writing this book a very real author takes us on a literary adventure that we will not soon forget. [End Page 220] Ann Williams Metropolitan State University of Denver (CO), emerita Copyright © 2023 American Association of Teachers of French

Who says "I" in the essays? On the clarification of authorship in academic writing

The aim of this study is to contribute to a sharper contouring of authorial concepts in the context of scientific writing in the humanities. In doing so, a distinction is made between an authorial instance and the real author. In a first step, the structuring aspect of a scientific text is taken into focus. From this it emerges that both performative and narrative aspects characterize scientific texts. In a second step, the specific author concept underlying scientific texts is investigated: It differs from the author concept of literary texts in that it strives for supra-individual knowledge and statement constancy. The scientificness of an essay is thus not so much determined by stylistic forms, but by scientific procedures carried out by this auctorial instance: The more conformable they are to a field of action of a discipline, the more recognized the text becomes as a scientific contribution. If objectivity is guaranteed by this conformity – according to the thesis of this paper – the question of the appropriateness of personal or impersonal formulations becomes secondary. The decision to use the conventions of everyday scientific language (in German AWS) for the purpose of better communication is ultimately left to the author.

Donald A Beecher and Grant Williams (eds). Henry Chettle, ‘Kind-Heart’s Dream’ and ‘Piers Plainness’: Two Pamphlets from the Elizabethan Book Trade

Henry Chettle is probably best known to scholars of early modern literature as the author of a Hamlet-esque revenge drama, The Tragedy of Hoffman; as a co-author of a few other extant plays including Patient Grissel and The Death of Robert, Earl of Huntingdon; and as a bit-part-player in the history of Shakespeare’s early career, thanks to his authorship of Kind-Heart’s Dream. In the prefatory epistle to this 1593 pamphlet, Chettle responds to the charge that he is the real author of the Groatsworth of Wit attributed to the late Robert Greene, in which Greene had warned fellow dramatists about a certain ‘upstart Crow’; Chettle denies being anything more than Greene’s editor and transcriber and apologizes to the (unnamed) injured party, having since ‘seen his demeanour no less civil than he excellent in the quality he professes’ (88). It is fair to say that critical discussion of this text has struggled to escape the shadow of Chettle’s illustrious contemporary. Donald A. Beecher and Grant Williams’ edition brings Kind-Heart’s Dream together with Chettle’s 1595 pamphlet, Piers Plainness’s Seven-Years Prenticeship. Although the editors inevitably make reference to the Groatsworth and its aftermath, their focus is very much on Chettle’s two pamphlets in their own right and particularly on their status as products of—and reflections upon—early modern print culture.

The Implicit Narrator and the Real Author in Joanna Hogg’s The Souvenir (Part I)

The Implicit Narrator and the Real Author in Joanna Hogg’s The Souvenir (Part I)

Burhān al-dīn Nasafī as the Author of Al-Manṭiq al-kabīr (MS Aḥmad iii, no. 3401)

Recently, in ‘An inquiry on Fakhr al-Dīn Rāzī’s authorship of Al-manṭiq al-kab ι ¯ r (MS Aḥmad iii, no. 3401)’, we refuted the quite common view among historians of Arabic logic as to attribute Al-manṭiq al-kab ι ¯ r (Major [book on] logic) to Fakhr al-dīn Rāzī; however, in that paper, we could not identify the real author of the book. In this paper, we try to show that Al-manṭiq al-kab ι ¯ r was written by Burhān al-dīn Nasafī (1203–1288), who authored another book, Sharḥ Asās al-kiyāsa whose logical part is very similar to Al-manṭiq al-kab ι ¯ r in the following significant features: the titles of chapters and sections, the style of writing, some technical as well as some non-technical terms, many sentences word by word. None of these features we find in any other Arabic logical work. So, Al-manṭiq al-kab ι ¯ r and Sharḥ Asās al-kiyāsa are so close to each other that we might most possibly identify the authors of the books as the same scholar, i.e. Burhān al-dīn Nasafī. Fortunately, this has been verified recently by two manuscripts of a medieval Arabic logical book.

350 metų herojinei poemai Viešpaties dešinės galybė / 350 Years of Heroic Poem Force of the Right Hand of the Lord

On November 11, 1673, the Polish and Lithuanian armies defeated a large corps of the Ottoman army at Khotyn. On January 14, 1674, the heroic poem The Power of the Right Hand of the Lord was published in Vilnius to immortalize this victory in Latin. Apart from the poem, the book contains a dedication to the commanders of the Grand Duchy’s army signed by a Vilnius Academy student Jacob Bennet (d. 1730) and the panoramic image of the Battle of Khotyn created by the artist Laurenty Krzczonowicz (circa 1650–1704). The author of the poem is probably somebody else than indicated on the title page. It is suggested that the real author might be Andrzej Hrynkiewicz; (1647 VIII 25 – 1707 VI 20), a poetics instructor at the Vilnius Jesuit Academy. Having joined the Society of Jesus on August 14, 1664 in Vilnius, he studied and later taught various disciplines at Jesuit educational institutions of Vilnius, Warsaw, Polotsk and Nesvizh. From 1686 until his death, he lived in the Warsaw professed house, where he occupied various positions. He was a talented preacher. His lectures and sermons are extant in manuscript, but only the poem The Power of the Lord’s Right Hand was published in his lifetime. It extolls the military campaign of 1672–1673 culminating in the Battle of Khotyn. Besides the combat, the poem honours the most prominent military commanders and officers of the Polish-Lithuanian Commonwealth: the Grand Hetman of Poland Jan Sobieski, the Field Hetman Dymitr Jerzy Wiśniowiecki, the Grand Hetman of Lithuania Michał Kazimierz Pac, the Field Hetman Michał Kazimierz Radziwiłł, and others. This article offers a translation of the heroic poem into Lithuanian with comprehensive textological and historical commentaries. Keywords: Vilnius University; Heroic poem; Virtus dexterae Domini (The Power of the Lord‘s Right Hand); Jacob Bennet; Andrzej Hrynkiewicz; Laurenty Krzczonowicz; Michał Kazimierz Pac; Michał Kazimierz Radziwiłł; Jan Sobieski; Hussein Pasha; Battle of Khotyn, 1673

Narrative within a Narrative: Blogging as an Embedded Narrative Strategy in Adichie’s Americanah

In the world of storytelling, authors employ multilayered narrative techniques for various reasons. This study aims to explore the narrative levels, the relationships between them, and the functions of the embedded texts in Adichie’s novel “Americanah.” Unlike the previous works that mostly focused on the thematic concerns raised in the novel, this study is originally approached from a narratological perspective. Applying narrative theory, it mainly focuses on analyzing the novel’s use of blogs as an embedded narrative strategy. A narrative strategy here refers to a device or technique that a real author uses to communicate the themes of a novel. The study employs a qualitative research method since it is a textual analysis. Since blogs can reach a wide audience as a mouth of many diasporas, the author strategically used them to explain the external narration. Critical diaspora concerns are juxtaposed in the blogs by the major character, Ifemelu, for having the effect of intimacy with the readers. Overall, blogs are effectively used by the author as an embedded narrative strategy. The primary (embedding) narrative justifies the embedded narrative in it. They do not just present the text rather they provide a context for the embedded narrative. The functions identified are actional, explicative, aesthetic, and advancement of oral storytelling. The second degree narratives (blogs) are also used for aesthetic purposes as a means of creating suspense and introducing new plot lines. Keywords: blogging, narrative embedding, narrative levels, narrative strategies, narrator. DOI: https://doi.org/10.55463/hkjss.issn.1021-3619.60.77