Culture, detention and exile

1982 ◽  
Vol 11 (1) ◽  
pp. 25-28
Author(s):  
Jorge Musto

Among the exodus of Uruguayan artists and intellectuals described by Hortensia Campanella (p 29) is Jorge Musto. whose short story ‘Pale Browns and Yellows’ we published in Index on Censorship 2/1981. As actor, theatre director and journalist, Jorge Musto was associated with the two best-known standard bearers of the rich cultural movement which blossomed in Uruguay before the 1973 military coup: the El Galpón theatre company (Index on Censorship 2/1977 and 2/1979) and the weekly magazine Marcha (4/1974 and 2/1979). He has published several novels and short stories, and now works as a translator in Paris, having fallen victim in 1972 to the repression which paved the way for the final military takeover. It was in Paris that the following interview was carried out in February 1981 by Index on Censorship's Latin America researcher. Our apologies for having held it over for so long, for reasons entirely of space. The interview is translated from Spanish.

1980 ◽  
Vol 9 (3) ◽  
pp. 41-43 ◽  
Author(s):  
Malcolm Coad

We publish below a list of writers and journalists abducted by the security forces and numbered among the ‘disappeared’ in Argentina since 24 March 1976, the date of the military coup that installed General Jorge Rafael Videla in power. Two eye-witness accounts illustrate the way in which such abductions usually take place. Finally, Robert Cox, editor-in-exile of the daily newspaper Buenos Aires Herald, describes how independent-minded journalists and the families of los desaparecidos ( ‘the disappeared’) have been affected. The material is introduced by Index on Censorship's researcher on Latin America, Malcolm Coad.


LINGUISTICA ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 409
Author(s):  
ULFA YOZA SALSABILA ◽  
ELIA MASA GINTING ◽  
WILLEM SARAGIH

This study aimed to analyze the mood and modality used in the short stories of Willem Iskander’s Si Bulus-Bulus Si Rumbuk-Rumbuk, elaborating and explaining the interpersonal meaning realized in each short story. The source of data was taken from a book authored by Willem Iskander, entitled “Si Bulus- Bulus Si Rumbuk-Rumbuk”. This research showed that : (1) there were 157 clauses in the short stories with three mood types and two degrees of modality. (2) interpersonal meaning is realized based on the order of the subject and the finite. (3) the reason why the interpersonal meaning is realized in the way they are is that the author wants to share his thoughts and experiences of Mandailingnese by classifying each clause and finding the dominant use of declarative mood as the most direct and soft way of conveying the author’s thought


2018 ◽  
Vol 17 (3) ◽  
pp. 245-256
Author(s):  
Logamurthie Athiemoolam

Purpose The purpose of the paper is to provide a detailed account of pre-service teachers’ viewpoints on the use of tableaux as pedagogy to analyse short stories in secondary schools based on their exposure to the use of tableaux and their active participation in the process of tableau creation. Design/methodology/approach The study adopted a qualitative approach and a phenomenological design as it provides a detailed account of PGCE English Methodology pre-service teachers’ views on the use of tableaux to teach a short story. The data collection method used was written narratives based on the participants’ detailed accounts of their learning during the process of tableau creation and their viewpoints on the use of such an approach in the teaching of literature within secondary school contexts. The “rich, thick data” extracted from the written narratives were analysed thematically. Findings The findings indicated that although pre-service teachers were initially sceptical towards the use of tableaux as a strategy to teach a short story, as they grew in their understanding of the practices involved their insights into the themes, motifs and characters’ emotional, personal and psychological states of being were enhanced. Originality/value Research in the use of tableaux as a strategy for pre-service teachers to critically analyse and engage with short stories is a novel approach to teaching and limited research has been conducted in the field.


2020 ◽  
pp. 187-207
Author(s):  
Saskia McCracken

In 1931, Virginia Woolf was commissioned to write a series of six articles for Good Housekeeping, a middlebrow women’s magazine, which have typically been read by critics as five essays and a short story. Woolf’s series takes her readers on a tour of the sites of commerce and power in London, from the Thames docks and shops of Oxford Street, to ‘Great Men’s Houses,’ abbeys, cathedrals, and the House of Commons, ending with a ‘Portrait’ of a fictitious Londoner. This chapter has three aims. First, it suggests that Woolf’s Good Housekeeping publications can be read not simply as five essays and a short story, but, considering Woolf’s ethics of the short story, as a series of short stories or, as the magazine editors introduced them, word pictures and scenes. Secondly, this chapter argues that Woolf’s Good Housekeeping series responds to, and resists the Stalinist politics of, Aldous Huxley’s series of four highbrow essays on England, published in Nash’s Pall Mall Magazine. Finally, this chapter analyses a critically neglected short story by Ambrose O’Neill, ‘The Astounding History of Albert Orange’ (February 1932), published in Good Housekeeping, which features both Woolf and Huxley as characters, and which critiques, satirises, and destabilises the boundaries of highbrow literary culture. Thus, the focus turns from highbrow writers’ short stories to a story about highbrow writing, all published in the supposedly middlebrow Good Housekeeping, demonstrating the rich complexity of the magazine, its varied politics, and its generically hybrid publications.


2019 ◽  
Vol 14 (1) ◽  
pp. 73
Author(s):  
Juliano Klevanskis Candido

Resumo: Este artigo analisa os contos “O caminho do vento” e o “O nômade e a víbora”, publicados por Amos Oz em 1965, e o conto “O casamento de Gália”, publicado por Avraham B. Yehoshua em 1970, à luz de alguns aspectos teóricos postulados por Walter Benjamin como “alegoria”, “narrativa”, “obra épica”, entre outros. Os três textos surgem no Brasil na coletânea O novo conto israelense (1978), organizado por Rifka Berezin. Nas narrativas é possível vislumbrar algumas imagens surrealistas e expressionistas, bem como um sentido de personagem moderno que demonstra a crise do homem no século XX, tal como proposto por Benjamin. Como isso acontece em um só texto? As reflexões sobre os contos de Oz e de Yehoshua, lidos à luz de Walter Benjamin e de suas proposições sobre a vanguarda europeia, se revelam apropriadas, assim, para seavaliar essas e outras questões presentes nas narrativas.Palavras-chave: Amos Oz; Avraham B. Yehoshua; Walter Benjamin.Abstract: This article examines the short stories “The way of the wind” and “Nomad and viper”, published by Amos Oz in 1965, and the short story “Gallia’s wedding”, published by Avraham B. Yehoshua in 1970, in the light of some theoretical aspects postulated by Walter Benjamin as “allegory”, “narrative”, “epic work”, among others. The three texts appeared in Brazil in O novo conto israelense (1978), organized by Rifka Berezin. The narratives show some surrealist and expressionist images, as well as a sense of modern character that demonstrates the crisis of man in the 20th century, as proposed by Benjamin.How does it happen in a single text? The reflections on the tales of Oz and Yehoshua, read in the light of Benjamin’s propositions on the European vanguard, are appropriate, therefore, to evaluate these and other issues present in the narrative.Keywords: Amos Oz; Avraham B. Yehoshua; Walter Benjamin.


2019 ◽  
Vol 10 (1) ◽  
pp. 1-46
Author(s):  
Rahat Afshan

The age of Short Stories in Urdu may be shorter than other branches of Urdu literature, but even though of its short-lived life, but the success and accomplishments of short stories is unlike any other form of the Urdu Literature. There is no doubt in the fact that Urdu Short Stories may have a root from English Literature, but our Writers of the short stories included the country and society and hence the true identity of the short stories came up to the surface. The way the female writers of Urdu Short Stories highlighted the new topics with new techniques is beyond compare and deserves appraise. They have presented their feelings and emotions in a way unique and new manner, which highlights the reference of their specific thinking, and they presented it in a highly spontaneous manner. Through their Short Stories, they have highlighted the presence of Women, their Value, their mental and emotional complexities, their needs and their silences are voiced. The women writers not only through their abilities to discover wrote about the political and societal difficulties, rights and equalities, women issues and against the cultural mindsets, but also through their works, they highlighted the time to time changing aspects of life. We are rightful to say this that the women taking part in the success and development of the Short Stories in Urdu Literature. Looking at their thoughts, it is not difficult to say that in the upcoming times, the women short story writers and their new and unique thoughts will account for the success of this branch of Urdu Literature.


2017 ◽  
Vol 8 (2) ◽  
pp. 201-208
Author(s):  
Pedram Maniee ◽  
Shahriyar Mansouri

Abstract The short story of “Araby” by James Joyce was published in 1914 in Dubliners which is a collection of fifteen short stories set in the Dublin city of Northern Ireland. “Araby” is one of those short stories in which traces of the colonization of Ireland by the Great Britain in the nineteenth century can be found. Since the context of the short story is set in Dublin, analyzing it in light of post-colonial theory has made it a special case. Because despite the majority of literary works which are analyzed in light of post-colonial theory and in which the contrast between east and west geographically is quite visible, in “Araby” this contrast is not clear-cut and the culture of two neighbor countries are so close and as a consequent so difficult to claim cultural and religious colonization by a neighbor country. This essay investigates the way Joyce has portrayed the cultural, political, economic and social domination of Britain over Ireland, specifically Dublin. The essay also explores the context where Joyce had the motivation to write Dubliners and shows the fundamental principles of post-colonialism such as language, the notion of superior/inferior, cultural polyvalency, Self/Other and the critical tenets of Homi K. Bhabha including mimicry, liminality or hybridity and finds these tenets within this short story. The essay also investigates the way James Joyce has employed symbolism in order to portray his reaction to the domination of Britain over Ireland.


Doxa ◽  
2021 ◽  
pp. 32-43
Author(s):  
Roman Galuyko

Vasyl Stafanyk entered into Ukrainian literature XIX – XX century as a master of the short story, where he emotionally passionately violates the existential problems of an individual person, lost in a world indifferent to him, of which he is forced to make certain decisions and take responsibility for his choices. The artist’s special attention is drawn to the loneliness of man, which often causes him despair and confusion. In particular, this is reflected in Stefanyk’s short stories on the lives of rural workers. The writer knew well the Ukrainian village, the problems of the peasants. There was already a gradual departure of the rural community from the collective responsibility for the fate of each of its members, which deepened the alienation, created a sense of abandonment, in his time. For example, the village and the community are calmly watching the decline of Anton’s farm – the hero of Stefanyk’s short story «Blue Book». In this short story, the cry of the soul of a once wealthy owner, who was unlucky, who in despair drinks the whole farm. In his drunken bravado there is sadness, rage and hopelessness, deep despair – Anton feels that everyone is indifferent to his grief, there is no compassion in his home community. Such loneliness, alienation and despair of man, indifference of others permeate the pages and short stories «Paliy». Its protagonist, old Fedor, worked all his life for the rich Andriy Kurochka, lost his strength and health on his farm, and is now forced to beg from strangers. The thought of this hurts Fedor’s aching soul, he goes mad with loneliness, deeply offends his human indifference. In despair, deeply offended, lonely in his grief, Fedor sets fire to the hen’s barn, taking revenge on him for his mutilated life. The lyrical hero of V. Stefanyk’s short story «My Word» chooses a different way of reacting to unfavorable life circumstances from the previous character. It is the confession of a lonely, abandoned man in a world indifferent to the fate of everyone. Detached from his native land, the hero of the novel doesn’t find peace and joy in the new world. His longing comrades, who agreed with this new world, don’t understand him. So, abandoned by them, he builds himself a world of his own imagination, in which he is comfortable and where he truly lives, hoping to find happiness. Accordingly, the author of the short story convinces that everyone is lonely and doomed to fight for their happiness, and therefore responsible for their choices. Very often Vasyl Stefanyk addresses the topic of lonely old age, when adult children become busy with their worries and do not need their parents, as, for example, in the short story «Angel», where old Tymchykha, feeling unnecessary for children, prepares for death as a salvation from loneliness. The writer raises a similar theme of loneliness of old parents with living children in such short stories as, in particular, «Sama samisinka», which depicts a gruesome picture of the death of a helpless mother left to fend for her children who went to work. The other side of lonely old age depicts the image of old Maxim, who can’t forget his dead sons. A lone widower who sent two sons to fight for Ukraine, he complains about his fate, rages in the field at work, shouts at the horses. At the same time, in despair, Maxim doesn’t accept any sympathy from neighbors, proudly carries his loneliness and despair, lamenting the whole world. He is disgusted by everything around him, he lives only by memories of the past, when his sons and wife were alive, when life was raging in his house. Thus, as we can see, many of Vasyl Stefanyk’s short stories are imbued with existential problems of man concerning the negative nature of human existence. Among them the loneliness and despair of the person in difficult life situations are especially penetratingly considered by the writer.


2017 ◽  
pp. 169-190
Author(s):  
Angelica Simonsson

This article studies the production of heterosexuality as a default setting in a language classroom. Using observations in a year 8 Swedish class as a method for data production, the focus is on the production of sexuality in the interaction between the teacher, the pupils and the teaching material in the class- room work with three short stories. The aim is to problematize the way hetero- sexuality is being reproduced as taken for granted, both through the content of the short stories and through the interaction in class around the stories. The analyses shows that the continuous unmarked presence of heterosexual narratives serve as a default background in the short stories and is followed up in the teaching in its focus on the dramaturgic aspects of writing a short story rather than on the meaning making aspects of writing and reading. The practices of taking heterosexuality for granted reproduce heterosexuality as a default in the classroom, which reproduces it as normative, whilst also creating a pedagogical leeway.


Monteagudo ◽  
2019 ◽  
Vol 24 ◽  
pp. 17-35
Author(s):  
Ángel Basanta

El microrrelato ha alcanzado un extraordinario auge en las últimas décadas. Se define por su acusada brevedad y su intensa narratividad, su extrema concentración y economía expresiva sustentadas en la elipsis y el arte de sugerir. Aunque ha habido microrrelatos desde las primeras manifestaciones de la literatura, este cuarto género narrativo nace como tal a partir del Romanticismo y, sobre todo, en el modernismo, alcanza su pleno desarrollo a lo largo del siglo XX, a partir de J. R. Jiménez y R. Gómez de la serna, en españa, y, más aún, en Hispanoamérica, con maestros como Borges, A. monterroso y J. Cortázar; y se consolida como el cuarto género narrativo a finales del XX y comienzos del XXI. José Mª merino es uno de los escritores españoles que más y mejor ha contribuido a la construcción de la teoría del microrrelato y está considerado como uno de los maestros indiscutibles en la creación de minificciones representativas de esta modalidad narrativa. Reunió sus microrrelatos por primera vez en La glorieta de los fugitivos. Minificción completa (2007). A ellos hay que añadir los intercalados después entre los cuentos de El libro de las horas contadas (2011) y los agrupados en la tercera parte de La trama oculta (cuentos de los dos lados con una silva mínima) (2014). The short short-story is flourishing in recent decades. It is defined by its acute brevity and its intense narrativity, its concentrated form and expressive economy underpinned by its elliptical and suggestive nature. Although there have been instances of short short-stories since the beginnings of the literary form, this narrative genre begins to take shapre in the Romantic and modernist periods, and develops fully in the twentieth century, in the writings of J. R. Jiménez and R. Gómez de la serna in spain and, in latin America, in those of Borges, A. monterroso y J. Cortázar. It becomes consolidated as the fourth narrative genre at the end of the twentieth and the beginning of the twenty-first centuries. José María Merino is one of the spanish writers who has done most to contribute to the development of the theory of the short short-story and is widely considered one of the best creators of the mini-fictions representative of this narrative mode. His first collection of short short-stories is La glorieta de los fugitivos. Minificción completa (2007), to which he has since added others to be found amongst the short stories of El libro de las horas contadas (2011) and those grouped in the third part of La trama oculta (cuentos de los dos lados con una silva mínima) (2014).


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