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AbstractThe Indian Ocean region is a continuum of social, economic, and cultural engagements. It is also a remarkably elastic matrix of human relations that has profoundly influenced and been influenced by global engagements. These interregional engagements raise questions of how to frame global circularities within Indian Ocean pasts. How have imbrications with other world regions affected the networks and boundaries of the Indian Ocean region? And how have Indian Ocean societies affected the wider world? To answer these questions this article traces Indian Ocean histories within global contexts between the sixteenth and early twentieth centuries. It offers a stereoscopic history of Indian Ocean Africa that appreciates Indian Ocean linkages alongside the region's global entanglements, which in turn demonstrates how Africa's Indian Ocean rim has affected and been affected by wider global relationships. The article suggests that imbrications of regional and extraregional networks do not negate the Indian Ocean's coherence or the central importance of regional linkages. Rather, it argues that such imbrications prompt alternative ways of perceiving Indian Ocean worlds: namely, as layered matrices shaped by the dual articulation of Indian Ocean rim societies.

At the end of the nineteenth century, Chinese intellectuals had to respond to the dire situation of their country. Against this background, the leading intellectual Kang Youwei aimed to re-establish some traditional values. Although Yang Zhu had long been employed rhetorically in pre-modern China, Kang reconstructed Yang Zhu as an ancient master who had a coherent theory centered around two expressions: wei wo (serving one's own interest) and zong yu (indulging in desires). However, there is a tension in Kang's attitudes towards Yang Zhu: on the one hand, he criticizes Yang Zhu for when he reflects upon the despotic nature of Chinese governance; on the other hand, Kang sees the positive sides of wei wo and zong yu in the achievement of the Great Unity. Despite the ambiguity, Kang's choice of vocabulary still made an impact to the portrayals of Yang Zhu after his: his portrayal turned this master into someone highly relevant to modern China; he also showed the possibility of reading Yang Zhu in a positive light.

The article examines folklore motifs and images of Dara Kornyi's novel "Honykhmarnyk", which is offered to be analyzed in the Ukrainian literature class in the 11th grade in the context of studying modern literature. It is indicated that the writer contributed to the development of the urban fantasy genre, and her work is rooted in folklore and mythology, which will allow students to deepen their knowledge of oral folk art, to draw parallels with the works they studied in high school, in particular Lesia Ukrainka's "Forest Song" and "Shadows of forgotten ancestors" by Mykhailo Kotsiubynskyi. It is proven that the synthesis of arts as a characteristic feature of the style, folklore echoes, poetic epigraphs, and mentions of the names of famous artists significantly expand the context of the work and generate allusions that should be analyzed in class. The title of the novel and the names of individual sections indicate its connection with mythology and folklore. The work contains many legends, tales, and folk songs, and artistically interprets the image of a duplicitous man who belongs to the corpus of Ukrainian "lower mythology". The article analyzes the main signs of a two-headed person and also focuses on rituals that can reduce the power of Gradobur. In parallel with the image of Honykhmarnyk, the history of the herbalist family, to which Alina belongs, is described. A whole series of legends, tales, and superstitions are woven into the artistic fabric of the work, in particular, about the power of charms that protect against evil spirits. One of the aspects of the research was the legend of the family curse and Alina's efforts to break the closed circle. The struggle between good and evil in the work is marked as a confrontation between black and white magic.
It has been proven that the Carpathian and Lviv topos play an important role in the novel, in the coordinates at which the main characters interact. It is revealed that nature reveals the true nature of the heroes, and the patron of the city guards the secrets of its inhabitants. It is illustrated that Dara Korniy resorts to erasing the boundaries between reality, memories, dreams, and real and parallel worlds, and paintings serve as a kind of portals to the afterlife. The main character tries to separate two beings and save the soul of her beloved. It is indicated that the journeys to the afterlife are filled with horror, so they resemble fragments of Gothic works, but the power of her love can overcome all obstacles.

CPC (Communist Party of China) networks in banks lead the way, forging new roles for the Party in economic governance. Drawing on digital traces left by Party-building activities, along with specialised scholarship in Chinese, this article analyses the CPC's growing presence in everyday banking that has swiftly unfolded since 2015. A central finding is that discipline inspections with a broad mandate have triggered transformative change: Bankers adopt a new discourse submitting to the CPC's open-ended authority, including extravagant displays of loyalty. Formal rules ranging from revised corporate charters to career incentive systems enshrine the Party's authority. Banks' involvement in Xi Jinping's anti-poverty campaign has also established precedents for politically oriented banking. (China/GIGA)