Novels

A brief analysis of the work "We" written by Yevgeny Ivanovich Zamyatin in 1921 is presented.
Corresponding to the science fiction genre, the work is recognized as one of the fundamental texts
in the descriptive approach of social dystopia. For this purpose, a summary presentation of the
author's life, with the aim of understanding the historical context of his work; Elements that are
characteristic of dystopia are identified as a derivation of a utopian society built under
technological fiction. Contrasting the elements present in the work that qualify it as a dystopia
novel. Special consideration must be given to the fact that reference is made to the constructive
mode of the work in which the official reality differs from the reality perceived by the characters
by drawing the true plot of the novel as the reader identifies with the reality of the characters

ANIMALISTIC LAYER IN THE NOVELS OF MAJA GLUŠČEVIĆ (IN 1990S)
SUMMARY: Animal characters have always been present in many human activities, including literature. The interest in animal studies is increasing in contemporary times, precisely, since the 1970s. It is evident that the presence of animal characters is especially noticeable in children's literature. In this context, the works of Maja Gluščević, in which animal characters almost always exist, stand out. After a brief theoretical insight into animal studies, the paper analyzes animalistic layer present in 6 novels written by Maja Gluščević. Precisely, the focus is on novels that were first issued in 1990s. The paper analyzes the ways of depiction and functions of animal characters and their relationships with human characters.
Keywords: animal characters, animal studies, contemporary children’s novel, Maja Gluščević

ANIMALISTIČKI SLOJ U ROMANIMA MAJE GLUŠČEVIĆ (90-TE GODINE 20. STOLJEĆA)
REZIME: Likovi životinja oduvijek se javljaju u mnogim ljudskim djelatnostima pa tako i u književnosti. Zanimanje za animalistiku jača u suvremenom vremenu, točnije, od 1970-ih godina. Evidentno je da je prisutnost životinjskih likova posebice vidljiva u dječjoj književnosti. U tom kontekstu ističu se djela autorice Maje Gluščević u kojima gotovo uvijek egzistiraju životinjski likovi. Nakon kratkog teorijskog uvida u animalistiku, u radu se analizira animalistički sloj prisutan u 6 romana Maje Gluščević. Točnije, u fokusu su romani koji su svoje prvo izdanje doživjeli u 90-im godinama 20. stoljeća. Analiziraju se načini prikaza i funkcije životinjskih likova te njihovi odnosi s ljudskim likovima.
Ključne riječi: animalistika, Maja Gluščević, suvremeni dječji roman, životinjski likovi

The paper discusses how the setting (place and time) in the chosen novels: A raisin in the sun, Cry the beloved country and Things fall apart influences the decisions and actions of characters. At times, the setting pushes characters to make certain decisions and to act in a particular manner.

Online here: https://foreignpolicy.com/2021/08/01/alaa-al-aswanys-novel-republic-false-truths-review-arab-spring-dictatorship/?tpcc=recirc_latest062921

Review of "The Republic of False Truths," a retrospective on the Arab Spring ten years later.

Martin Wickramasinghe's Virāgaya (1956), a novel considered a modern classic is often understood be a text that exclusively focuses on the inner psyche of the central character. Thus, it was criticized for the lack of socio-political meaning. Amarasekara, a renowned writer and critic, maintained that the novel represents a certain weakening of socio-political dialogue in the country after achieving independence from the British. Compared to Wickramasinghe's famous trilogy, which is explicitly 'social' since it deals with an evolution of a certain capitalist class, Virāgaya is understood to be a work that deals more with the psychological than with the social. This paper argues that when read as a postcolonial novel, contextualizing it in its specific postcolonial condition, Viragya appears to be much more 'social' and 'political' than any other novel

It is the story of an old woman who lived her whole life lonely because of incomplete love. She had lost every reason to live. She used to talk and wait for her death all the time. Then, a pretty young girl knocks at the door of her loneliness. She is graceful and delicate like a cotton flower. She takes care of the old woman and assures her that there is someone to value her in her bad times. After a few days the enemy army invades their village and that flower of Mai Tajo, the old woman, is ruined ruthlessly.

The application of new media to 21st-century novels is the trigger of emerging narrative genres, which revolutionize the narrative panorama and leave space for innovative conceptual approaches. The influence of popular new media creates original circumstances for the development of new kinds of interaction between the storytelling and the reader/spectator, accentuating the rising need for social, multimedia engagements. The newest concepts and approaches of the emerging, wide fields of transmediality and intermediality in transmedial narratives are objects of the handbook ‘Fictions of the Internet’. From Intermediality to Transmedia Storytelling in 21st-Century Novels (2018) by Anna Weigel-Heller.

English language learning is considered as a language that must be learned as it is needed in everyday life in local and global context. In response to students need to learn English, it is obvious that modern technology, i.e. modern environment is ‘ the ’ environment suitable for students’ prosperity nowadays. However, the longer and more complex things are to learn, the more the need to emphasise the importance of evolution in teaching English. This is because our society may be characterised by its diversity, complexity and interconnectedness. The educational systems must embrace this fact and adjust the 21 st century societal needs by using all teaching tools. Young Adults (YA) nowadays are keen on speaking and understanding English, which is spontaneously connected with reading and writing, such as texting, using social media, but when it comes to book/novel reading, there is a believe that they do not prefer real, hard copy books. Of course, they substitute books with technolo...

Athens 1953. Financier Kostas Floràs is accused of the murder of painter Nassos Karnezis, found dead in his apartment in the exclusive area of Kolonaki. Floràs’s son from his first marriage, Dimitris, convinced of his father’s innocence, together with two friends, a journalist and the other a former member of parliament, try to discover who the real murderer is. In the beginning they suspect Mirtò, the daughter of an admiral that Karnezis had handed over to the Germans during the Nazi occupation and who was subsequently killed. However Dimitris and Mirtò, who proves to be innocent, fall in love while the darker side of Karnezis, involved in a smuggling ring is revealed. Juliette, Karnezis’s lover is found murdered. Dimitris and Mirtò likewise face death but are saved as a result of the intervention of Inspector Giorgos Bekas.

About the Author:
Yannis Maris
Provided one goes along with the author, the modern reader will discover several interesting aspects in the works of Yannis Marìs. First, is the inventiveness of his stories which has led one of his most credible imitators, Petros Màrkaris, to point out, “Jannis Marìs belongs to the European avanguardia in terms of detective stories. He was one of the first to understand the potentiality of the crime story to also deal with social aspects […] The only other writer who is a contemporary of Marìs who has written socio-political novels set within a detective story is Leonardo Sciascia”. To read Marìs is, in other words, to read a relatively unknown yet significant author who, had he written in a more prevalent language, (accoring to the claims of Màrkaris) could have become a cult author beyond Greece, and who made a significant contribution to the detective genre in its ‘Mediterranean’ version.

O Último Europeu 2284 de Miguel Real ou a interrogação utópica sobre a nossa liberdade individual e colectiva O romance não cessa, enfim, de revestir novas formas e de exprimir novos conteúdos, numa singular manifestação da perene inquietude estética e espiritual do homem. V. M. de Aguiar e Silva, Teoria da Literatura (1999: 684). Orgulhávamo-nos do amplo progresso realizado numa dezena de anos, dotados de um plano moral excelente e dum um optimismo histórico muito sólido. (...) Prolongar e continuar a civilização dos nossos pais. Grande a responsabilidade, grande a vontade, óptimo o caminho percorrido.

بعد نجاح كتاب "من مكة إلى لاس فيجاس: أطروحات نقدية في العمارة والقداسة" الذي صدرت طبعته الثالثة، وفي أطار فعاليات معرض القاهرة للكتاب نُشر الكتاب الجديد للأستاذ الدكتور علي عبد الرءوف استاذ العمارة والتخطيط بجامعة حمد بن خليفة ورئيس وحدة التطوير والبحوث في إدارة التخطيط العمراني. الكتاب بعنوان "مدن العرب في رواياتهم" من اصدارات مدرات للأبحاث والنشر ويقع في 256 صفحة. ويتتبع الكتاب من خلال منهجية تحليلية، مجموعة من الأعمال الروائية المهمة التي صدرت في العالم العربي وقدمت في نسيجها الروائي فهما أو تصورا أو نقدا للعمارة والعمران والتخطيط العمراني العربي المعاصر. وتمتد رحلة الكتاب على خريطة مدن العالم العربي من مدن الخليج إلى الدار البيضاء مرورًا ببغداد ودمشق وعمَّان والقاهرة التراثية والمعاصرة، وصولاً إلى تونس والجزائر. كما يقدم الكتاب جولة في أعمال كبار الأدباء العرب المعاصرين التي صوّرت هذه المدن وشخوصها؛ تصل الأدب بالعمارة والعمران. كما يركز الكتاب على محاولة تقديم فهما موثقا لثلاثية العمارة والمدينة والرواية. وتأكيدا لأطروحة أن "الرواية هي فن المدينة بامتياز"، فان الكتاب يناقش أيضا دور المدينة في نشأة الفن الروائي في السياق العربي. إن المدينة ليست مجرد بنايات وشوارع وأسوار وبيوت وحواري وميادين، وإنما هي أيضا روح خلاقة تتبلور في شكل شخصيات متميزة ومتمايزة لكل مدينة. تأتي أهمية الكتاب من تفرده في تقديم القراءة النقدية التحليلية للإبداع الروائي العربي المرتبط بنطاق جغرافي مكاني معين لقدرتها على صياغة تصورا أكثر عمقا ودقة لتعقيد وتركيب وربما إعادة تركيب علاقة الإنسان بالمكان في المدن العربية.

Anton Cechov, La voglia di dormire Notte. La bambinaia Var'ka, una ragazzina di tredici anni, dondola la culla nella quale giace un bambino, e con voce appena percettibile miagola: Fa' la nanna, piccolina, Canterò una canzoncina... Davanti all'immagine sacra brilla una lampada verde; attraverso tutta la stanza, da un angolo all'altro, s'allunga una corda sulla quale pendono le fasce e dei grandi pantaloni neri. La lampada getta sul soffitto una gran macchia verde, e le fasce e i pantaloni proiettano delle lunghe ombre sulla stufa, sulla culla e su Var'ka... Quando la luce della lampada comincia a vacillare, la macchia e le ombre si ravvivano e si muovono come se ci fosse del vento. Si soffoca. C'é odore di cavoli agri e di merce da calzolaio. Il bambino piange. Già da un pezzo é arrochito ed é spossato dal pianto, ma continua a urlare e non si sa quando si cheterà. E Var'ka ha voglia di dormire. I suoi occhi si incollano, la sua testa é tratta giù e il collo le duole. Non può muovere né le palpebre, né le labbra e le sembra che la faccia le si sia disseccata, sia divenuta di legno, e che la sua testa si sia fatta piccina come una testina di spillo. «Fa' la nanna, piccolina,» miagola «ti farò la zuppettina...» Nella stufa stride un grillo. Nella stanza accanto dietro la porta russano il padrone e l'apprendista Afanàsij... La culla cigola lamentosamente e tutto si fonde in una musica notturna sonnifera, di quelle così dolci a udire quando ci si corica. Ora invece questa musica irrita e opprime, perché immerge nel sopore ma non fa dormire; se Var'ka, Dio scampi e liberi, s'addormenta i padroni la picchieranno. La luce della lampada vacilla. La macchia verde e le ombre si muovono, s'infiltrano negli occhi semichiusi e immobili di Var'ka, e nel suo cervello mezzo addormentato si trasformano in vaneggiamenti nebulosi. Ella vede delle nuvole scure che si rincorrono per il cielo e gridano come il bambino. Ma ecco che il vento ha soffiato, le nuvole sono sparite e Var'ka vede una larga strada coperta di fango liquido e sporco; sulla strada si allungano file di carri, si trascinano degli uomini con la bisaccia sul dorso, corrono avanti e indietro delle ombre; dai due lati, attraverso la nebbia fredda e umida, si vedono i boschi. Tutt'a un tratto gli uomini con le bisacce e le ombre cadono nel fango liquido. «Perché?» domanda Var'ka. «Dormire, dormire!» rispondono. E si addormentano forte; dormono saporitamente, mentre sui fili telegrafici stanno appollaiate le cornacchie e le gazze e gridano come il bambino e cercano di svegliarli. Fa' la nanna, piccolina, canterò una canzoncina... miagola Var'ka, e già si vede in una capanna scura, soffocante. Sull'impiantito si rivoltola suo padre, bonanima, Efím Stepànov. Ella non lo vede; ma sente come si rotola per terra dal dolore e geme. Gli é scoppiata, come dice lui, l'ernia. Il dolore é tanto forte che oggi non può pronunziar parola e non fa che aspirar l'aria e battere coi denti un rullo di tamburo: «Bu-bu-bu-bu...» La madre, Pelagèja, è corsa alla villa dei padroni a dire che Efím sta per morire. È un pezzo che é uscita e sarebbe tempo che tornasse. Var'ka é sdraiata sulla stufa, non dorme e tende l'orecchio al «bu-bu-bu» del padre. Ma ecco che ode una vettura arrivare alla capanna. I

The Sunday Times Bestseller and New York Times Bestseller. A book of hope for uncertain times.

'Feeling a little blue? Meet the new Winnie the Pooh.' The Daily Mail

'A wonderful work of art and a wonderful window into the human heart' Richard Curtis

Enter the world of Charlie's four unlikely friends, discover their story and their most important life lessons.

The conversations of the boy, the mole, the fox and the horse have been shared thousands of times online, recreated in school art classes, hung on hospital walls and turned into tattoos. In Charlie's first book, you will find his most-loved illustrations and some new ones too.

Suddenly Don Quijote doubts his squire’s embassy. It would be miraculous for Sancho to have returned in just over three days because El Toboso is more than thirty leagues away, seventy-five miles or one hundred and twenty-five kilometers from where Don Quijote was in the Sierra Morena.

SENSE PUBLISHER BEST-SELLER: Low-Fat Love unfolds over three seasons as Prilly Greene and Janice Goldwyn, adversarial editors at a New York press, experience personal change relating to the men, and absence of women, in their lives. Ultimately, each woman is pushed to confront her own image of herself, exploring her insecurities, the stagnation in her life, and her reasons for having settled for low-fat love. Along with Prilly and Janice, the cast of characters’ stories are interwoven throughout the book. Low-Fat Love is underscored with a commentary about female identity-building and self-acceptance and how, too often, women become trapped in limited visions of themselves. Women’s media is used as a signpost throughout the book in order to make visible the context in which women come to think of themselves as well as the men and women in their lives.

In this respect, Low-Fat Love offers a critical commentary about popular culture and the social construction of femininity. Grounded in a decade of interview research with young women and written in a fun, chick-lit voice, the novel can be read for pleasure or used as supplemental reading in a variety of courses in women’s/gender studies, sociology, psychology, popular culture, media studies, communication, qualitative research, and arts-based research.


This new, expanded anniversary edition has been thoroughly copy edited and revised for a cleaner version of the novel. It also includes new bonus content such as an afterword, a Q&A with the author answering reader questions, and ideas for classroom use.



PRAISE FOR LOW-FAT LOVE:

“Sometimes, when I read an especially wonderful book I say to myself, “I wish I had written that!” And that is how I feel about Low-Fat Love. To write a page-turner of a book that teaches about contemporary gender relationships is a major feat. Patricia Leavy has done that with Low-Fat Love. Truth be told, I love Low-Fat Love because it creates a fictional world that mirrors the gendered one we live in. I can identify with all the different characters and their issues. I would love to be in any college class or book group that was fortunate enough to be reading and discussing it. Brilliant!” -- Laurel Richardson, Ph.D., The Ohio State University

“Patricia Leavy writes with passion, verve and skill. I loved the first edition of LFL, but this expanded edition exceeded my expectations. I would run, not stroll, to get a copy for yourself and all of the important people in your life. I will use this in my relational communication and women’s studies classes because it is beautiful, relatable, and offers smart critique of how pop-culture’s expectations for intimate relationships often lets us down. Leavy offers readers a way to think through their close relationships and demand better of themselves and others.” -- Sandra L. Faulkner, Ph.D., Bowling Green State University

“I couldn’t put it down! Low-Fat Love is a remarkable novel that every women’s studies class and interpersonal class would do well to read. The title is indicative of the search for meaningful, deep, enriching relationships beyond the artificial, low-fat love that is all too pervasive in society today. I wholeheartedly recommend this book.” -- Robin Patric Clair, Ph.D., Purdue University

“My students LOVE the book. One keeps saying, ‘I feel as if I am inside this story … so colorful, so contemporary!’” -- Jeasik Cho, Ph.D., University of Wyoming

“Low-Fat Love is absolutely brilliant. This new edition is a must-read for anyone who has lived, loved, dreamed, and at times, settled for less than what we deserve – in other words, this is a book for everyone. Get it now, set it on your course reading lists, and give it away for birthday and holiday gifts. It will change the way you think about identity, the media and popular culture, gender, communication, feminism, education, emotion, relationships, and the sociology of human being-ism.” -- Anne Harris, Ph.D., Monash University and Australian Research Fellow in Creativity and Arts in Education

“More than anything, Low-Fat Love proves the astonishing talent that Leavy possesses as both a writer and social commentator. This novel manages to synthesize years of research without ever feeling researched, and teaches so much without the reader feeling as if they were being educated. It’s a novel that appeals to multiple audiences, and I know that many of my students, both male and female, recommended this novel to their friends and siblings for the fun enlightenment they gained. In short, read it now. You definitely won’t be disappointed. It manages to be a short, ‘can’t put it down’ book to read on the beach or on a plane, while still inspiring the sort of reflection usually reserved for self-help novels and sociology tomes. A wonderful and inspiring read that I will be using for years to come. Every student should read this book.” -- U. Melissa Anyiwo, Ph.D., Curry College

“This book is a great read. Leavy writes characters that you care about. I read this book over a weekend, barely able to put it down. The story is well-developed, fun, and has great pacing. What makes this book particularly interesting is the way that Leavy, a sociologist with expertise in gender studies, weaves the findings of her social research into the story. She makes sociology accessible to a wide audience. A pioneer in arts-based research, Leavy transcends traditional academic writing to engage a variety of audiences. As a sociology professor myself, I am using this book in my Introductory Sociology course, not only to springboard discussions about gender identity and women’s roles, but also to demonstrate the power of sociology beyond the classroom.” -- Jessica Smartt Gullion, Ph.D., Texas Woman’s University

“Based on my students’ responses and my own enjoyment of the novel, I highly recommend it!” -- Barbara Gurr, Ph.D., University of Connecticut

“The characters are deep and complex, the storyline intertwined, and I couldn’t put it down.” -- Linnea Rademaker, Ph.D., Northcentral University

“I use Low-Fat Love in my Sociology of Gender and Sociological Theory courses. My students and I enjoy reading the text. The students repeatedly tell me in their reviews that reading this book is one of their favorite parts of the class; they find the material relevant and helpful for understanding sociological concepts in an accessible way. If you are looking for a fun read and/or a supplement to your gender courses, I suggest Low-Fat Love!”   
-- Cheryl Llewellyn, Stony Brook University

Novela de estructura circular que presenta una particular visión del carrusel de la vida y de la muerte a través de peculiares personajes (viejos, gatos muertos, niños) que, entre soles y sombras, van desgranando temas vitales y/o triviales a través de un lenguaje lúdico y expresivamente marcado. Se mezclan en la obra la desesperanza por el repetirse de los días con la esperanza en el cáliz liberador del juego y el humor.

Todo lo que sucede una vez está sucediendo siempre, todo lo que sucederá está sucediendo y ya sucedió. El mundo no tiene pulso, ni ritmo.
(Antonio Soler: Las bailarinas muertas)


... en la vida no hay mucho espacio para llegar muy lejos; se extienden los brazos y ya hay una mano al sol y otra en la niebla...
(Milorad Pavic: Paisaje pintado con té)


El fin?
Elf in! El duende, por ende. Ende? La tonteoría endémica de querer dar fin... Nada se empieza ni se acaba, todo se continúa.
(Julián Ríos: Larva)

ÍNDICE


EPIPRÓLOGO

SOL DE LUNARIO
SOMBRA DE LUNARIO

SOL DE MARTIRIO
SOMBRA DE MARTIRIO

SOL DE MIERCOL
SOMBRA DE MIERCOL

SOL DE JUPÍTICO
SOMBRA DE JUPÍTICO

SOL DE VENEROSO
SOMBRA DE VENEROSO

SOL DE SADABO
SOMBRA DE SADABO

SOL DE DOMÍNICO
SOMBRA DE DOMÍNICO

SOL DE ETERNARIO
SOMBRA DE ETERNARIO

PROEPÍLOGO

We can almost hear the gears turning in Sancho Panza’s head. His immediate reaction is to devise a get-rich scheme: “I renounce henceforth the government of the promised isle.” All he wants now is for Don Quijote to give him the recipe for the magical medicine and tell him how much it costs to produce it.

This paper examines how contemporary literary fiction responds to the climate crisis and the attendant call for a seemingly universalist "species view" of human beings. What does it mean to think of the human as a species, how can we find traces of species being in literature, and how do they interact with other dimensions of human lives? To address these questions, the paper confronts recent accounts of historical context, animal characters, and capitalist time with Annie Proulx's Barkskins (2016). As this confrontation shows, Proulx's novel teaches its readers to be a specieswithout ignoring differences of race, class, and gender. abstract © FRAME NO. 29.2 NOVEMBER 2016 | 71 -90

Muito boa tarde a todos. Gostaria de agradecer a vossa presença aqui neste final de tarde, por terem dispendido um pouco do vosso tempo para homenagearem o Jorge e o trabalho que ele tem desenvolvido nos últimos tempos. De facto não foi há muito tempo que estive aí desse lado para assistir ao lançamento do seu primeiro romance. Mas é sobretudo ao Jorge a quem devo agradecer o convite para estar aqui hoje, convite que muito me honrou. O Jorge foi meu colega de licenciatura. Desses tempos recordo que, dos alunos trabalhadores, foi, sem dúvida, um dos mais assíduos, muito mais que muitos estudantes que eram apenas estudantes. Esta sua assiduidade demonstrava a sua paixão pela história e que, para além das actividades lectivas que desempenhou, vem novamente ao de cima com a publicação deste segundo romance, dedicado à vida de D. João II, aquele que ficou conhecido para a história como o Príncipe Perfeito. Todavia, não é vida perfeita de um Príncipe que aqui é narrada. Desde logo temos essa impressão pelo título desta obra – as sombras de D. João II. Na verdade este príncipe só é perfeito no sentido maquiavélico, isto é, na acepção em que Nicolau Maquiavel, contemporâneo do monarca português concebeu para o seu Príncipe, aquele

Assia Djebar's novel, Children of the New World, is about the experiences of young men and women during the Algerian Revolution and is compelling not only because of the themes of revolution, alienation and brutalities of colonialism, but because of its focus on gender conflicts between men and women. Numerous female characters in Djebar's novel challenge their husbands and their concerns are ignored or pushed to the sidelines. In reality, women participated in the war for Algeria's independence from France, which lasted from 1954 to 1962. At the same time, these women clashed with male nationalists. Adding to this, female voices were alienated or excluded from the nationalist revolution, causing androcentric voices to win out as women continued to be repressed in Algeria. Despite the fact that Algeria was officially independent from France in 1962, generally the status of women didn't improve. In this historical context, Djebar's novel, Children of the World, serves as a perfect example of women's struggle during during the Algerian Revolution.

There is a word game being played throughout Helen Phillips’ debut novel, The Beautiful Bureaucrat. The first instance occurs when Joseph Jones, the protagonist’s husband, notices how the sign for a “Diagnostic Laboratory” reads as “Agnostic Laboratory” when a truck parks partly in front of it. This is the couple’s “favorite kind of coincidence.” In dialogue, their give and take is often interrupted by playful homophones and letter substitutions. When describing the protagonist’s inner life, the narrator frequently disturbs the flow of her thoughts with strings of anagrams. Phillips and her characters seem determined to defuse particular words and phrases by dismantling their meanings.

Una desternillante novela sobre el secreto de la felicidad que ya ha hecho reír a un millón de lectores en Alemania. La presentadora de televisión Kim Lange está en el mejor momento de su carrera cuando sufre un accidente y muere aplastada por el lavabo de una estación espacial rusa. En el más allá, Kim se entera de que ha acumulado mal karma a lo largo de su vida: ha engañado a su marido, ha descuidado a su hija y ha amargado a cuantos la rodean. Pronto descubre cuál es su castigo: está en un agujero, tiene dos antenas y seis patas… ¡es una hormiga! Kim no tiene ganas de ir arrastrando migas de pastel. Además, no puede permitir que su marido se consuele con otra. Sólo le queda una salida: acumular buen karma para ascender por la escalera de la reencarnación y volver a ser humana. Pero el camino para dejar de ser un insecto y convertirse en un ser bípedo es duro y está plagado de contratiempos.

This novel is fragmentary. The rings are like tulle curtains thrown over the characters. Because these characters exist only in the mirage coordinates of the desert. Yes, yes, they do not live, they exist, they exist in illusions. And this existence has its own mission: to return to the beginning…

Ahmed Saadawi's Frankenstein in Baghdad, originally published in Arabic in 2013 and translated into English by Jonathan Wright in 2018, is set in the chaotic socio-political condition of post-invasion Iraq. The Nobel exacerbates the horror of sectarian violence by introducing a Frankensteinesque atmosphere of magical realism. However, this paper concentrates on the concept of monstrosity as presented in the novel. The paper shows how the concept of monstrosity, being a fluid one, problematizes the notion of identity. By carefully considering the multiple manifestations of 'monstrous identity', the paper demonstrates that 'monstrosity' is not an easily identifiable physical attribute found in conventional deformed-body 'monsters'; nor is it just a characteristic trait of an evil mind; rather, it is a highly nuanced term which complexly affects social identities.

Haack includes Sinclair Lews's ARROWSMITH among the "epistemological novels" in this class because it teaches us so much about the demands of a life in science--and because it's so enjoyable. These slides introduce its author, the "red-haired tornado from Minnesota."

JENDELA DUNIA-Link baca Novel Charlie Wade lengkap untuk kalian yang mau maraton membacanya. Novel ini mengisahkan tentang seorang pria bernama Charlie. Diceritakan ia adalah sosok yang dibenci banyak orang. Novel Charlie Wade lengkap tentang bagaimana Charlie yang hidup menumpang ini ternyata adalah orang kaya dan terpandang. Namun ia merahasiakan identitas aslinya. Beberapa komunitas online banyak membahas mengenai Novel online ini lengkap, dalam bahasa Indonesia diberi judul Si Karismatik Charlie Wade. Novel Charlie Wade ini ditulis oleh Lord Leaf dan yang terbaru sudah di chapter 3252. Diveritakan bahwa Sara pergi dan Charlie tidak bisa membohongi dirinya bahwa ia merasa sedikit kesepian. Pada saat ini, halaman sunyi, cuacanya masih agak dingin, menatap bulan dan bintang-bintang di langit dan menghela nafas. Dia tidak pernah membayangkan bahwa konser Sara akan berakhir seperti ini, mengingat kembali foto-foto lama dari konser itu, dia dipenuhi dengan emosi dan rasa malu jauh di lubuk hatinya. Meskipun dia telah menjalani kehidupan yang sulit selama bertahun-tahun di panti asuhan, dengan perlindungan rahasia Leon, Charlie bisa menjadi sosok yang periang. Sedangkan Sara bertahun-tahun tetap mematuhi kontrak pernikahan dengannya, dengan satu hati menunggunya hampir 20 tahun cinta yang mendalam. Jadi, bagaimana Charlie bisa mengembalikan cinta tiga anggota keluarga Gu ini? Jangan lewatkan untuk membaca Novel Charlie Wade lengkap dan nikmati kisah kehidupan si Karismatik Charlie Wade.