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The article attempts to conduct a content analysis of literary texts about the Great Patriotic War in Karachai-Balkarian literature. The relevance of the study is based on the demand for works on a military theme in modern society. The article uses hermeneutic, cultural research methods, undoubtedly contributing to the statement of the moral and psy- chological aspect of the studied texts. The main conclusions drawn in the work include the statement that the literary texts of the Karachai-Balkarian authors about the Second World War are characterized by an anti-war humanistic orientation, representation of valor and courage, psychologism and drama.

The translation of non-literary texts, especially science texts, compared to that of literary texts, tends to receive less attention not only from general readers in public, but also from scholars. One phenomenon of such tendency is that non-literary texts are far less retranslated. Different from literary texts, which could have as many as dozens of retranslations, such as the English novel Jane Eyre, which has more than thirty Chinese retranslations, non-literary texts in general have much fewer retranslations, with many of them never retranslated. The reasons for retranslation of non-literary texts differ from those for literary texts. Literary texts are retranslated, as investigated by many researchers, often because of particular consideration of new target reader groups, language, style, aesthetics, commercial interest, and the like; while non-literary texts tend not to be retranslated for that many different purposes, it is commonly agreed that knowledge dissemination is the major motive behind their retranslations.

Abstract
From factories to hostels, homes to neighbourhoods, how do embodied practices in stratified spaces shape the contemporary terrains of queerness in India? In this article, I analyse two recent cultural texts from India, Neeraj Ghaywan's Geeli Pucchi (Sloppy Kisses, 2021) and Hansda Sowvender Shekhar's (2018) novel My Father's Garden, Speaking Tiger Books, Delhi, to engage with the fraught dynamics of relationality and queerness. My analysis contests any easy celebration of community – by foregrounding the movements of dispossessed protagonists who do not fit into the paradigm of the privileged subject of queer politics. Yet these texts capture the fleeting possibilities of reaching towards one another in spaces carved through the operations of exclusion and discrimination. I bring together two texts in which the direct references to sexual identities formed via governmental or non-governmental networks are largely absent; rather, they ask fundamental questions about the in-between terrain of the relational. The dynamics of distance and connection is opened up in complex ways in these cinematic and literary texts as they create imaginative idioms to explore the brittleness of queer bonds formed through the hierarchized operations of class, caste and ethnicity. Through an analysis of the formal aspects of these texts, and the practices of spectatorship and readership they facilitate, I seek to underline how formations of sexuality in India can be unpacked only through a close engagement with the critical discourse on gender, caste and ethnicity.

This article will consider literary representations of the poorest parts of Rio de Janeiro and the ways they are romanticised or demonised according to the writer's agenda and the target audience. The growth in favela tours and hostels seems to indicate a voyeuristic interest in the poverty and danger represented in the images of Brazil that reach outside the country. Certainly, the number and variety of descriptions of favelas range from the poetic to the horrified, but all of them testify to the fascination these settlements exercise on the outsider. Travel writing, as well as investigative journalistic accounts (both fictional and factual), will be analysed, and references made to literature and film. Of particular interest are the ways in which poverty is 'performed' for the reader/spectator of literary texts, as well as the performance undertaken by the traveller/researcher/narrator in travel and scientific literature about the favelas.

Drawing on Marcuse's analysis of one-dimensional society, this article investigates the relationship between text and fan in its cultural micro and macro framing. The article explores the semiotic conditions through which texts function as objects of fandom and juxtaposes the reflective reading of fan texts based on their immediate concretization and normalization with the reflexive engagement demanded by the textual "blanks" in literary texts Iser described. The aesthetic relevance of fan texts, thus, lies not in any specific meanings but in their lack thereof as manifestation of a social and cultural status quo.

This article traces the cultural history of a recurrent association made in nineteenth-century French medical, scientific and literary texts between variants of 'monomania' — a broad term denoting obsessive fixation on a particular object in a subject presumed otherwise sane — and amateur scientific enthusiasm, specifically for perpetual motion, a phenomenon long acknowledged as impossible, and metonymy for similar chimera. A reading of alienist texts in conjunction with literary texts — emblematically, Zola's La Bête humaine, which links human and thermodynamic dysfunctionality — reveals that a specifically homicidal monomania is closely linked with the specific delusion that perpetual motion is possible, at the very moment when monomania is superseded, or considerably modified, by degeneration theories, when the degenerative nature of thermodynamic engines becomes widely accepted, and when disciplinary power — in Foucauldian terms — supersedes sovereignty.

AbstractIn the postmodernist transnational moment, the "city" is a "distinctive location of diasporic dwelling, belonging and attachment" and that the city as home is rooted in "city-specific memories" (Blunt and Bonnerjee 237). Emotions and feelings are not static in nature; the very place where one is born becomes a memory house once the individual moves out. Thus, with dispersion, the spaces of "home" transcend to other physical aspects related to it, i.e., the "locality, town or city spaces" (Roy 141) where one has spent a considerable amount of time. Gaston Bachelard in his formulation of "topoanalysis" analyzes the subjective phenomenological expressionvis-à-vis"home" and contends that memories of it are not something remembered, but rather, are entwined with the present. From the literary writings of Amitava Kumar, whose major setting is his hometown "Patna," the article considers the "city" as a sentimental space of "home" that often forms the core of his varied literary works and manifested through the diasporic consciousness of the author. His literary writings, such asPassport Photos,Bombay-London-New YorkandA Matter of Rats, showcase the author's constant negotiation of Patna. The literary texts under consideration explore how Kumar extrapolates through his "sense of place" (Agnew in Creswell 7), where "home" becomes an instrument of "topoanalysis" (Bachelard 8). Using Kumar's literary texts as a literary example, this article offers new ways into thinking of the associated concerns of diaspora, home, city spaces and topoanalysis.

Tezuka Osamu is one of the first manga artist, who started to transform works of classical literature into the language of Japanese comics. Among his works we can distinguish the comic adaptation of Goethe's "Faust" (1950) and "Crime and punishment" ("Tsumi to batsu", 1953) by Dostoevsky. These works, according to the assurances of Tezuka Osamu, were created by him in order to introduce the younger generation to the masterpieces of world literature. But, in fact, they are rather a courageous experiment by the author, which is based on Tezuka Osamu's personal experience with the works of American and Soviet animation and cinema ("Snow White and the Seven Dwarfs", "The Humpbacked Horse", "Moth and the Flame", "The Third Man", etc.). Being a big fan of cinema since childhood, Tezuka Osamu unwittingly transferred a set of different cinematic techniques to the art of comics, thereby expanding its capabilities. In this article we will consider in detail the mechanism of adaptation of literary texts in Tezuka Osamu's manga, starting with the indication of direct quotations from movie and animation of that time and ending with a variety of effects (Kuleshov effect) and principles of the film industry ("Star System").

The aim of the paper is to present intentio operis as an interpretative strategy created by a text. According to Umberto Eco, this strategy can help to transcend the opposition between intentio auctoris and the interpreter's unrestrained freedom. Although as a concept intentio operis belongs to literary texts, it seems to be an interesting construct to apply to legal interpretation, especially because it links different points of view on textual interpretation: the structural ('how the text is constructed') and the pragmatic (namely aspects of communication, such as the communicative intentions of the empirical author, the communicative intentions of the text).

In this paper we employ a conceptual repertoire from philosophical hermeneutics and literary aesthetics to examine people's expectations of and trust in interactive media. Drawing on data from two projects, first, with young professionals on their perceptions of the informational value of various media, and second, with youthful users of the online genre of social networking sites, we present findings on perceptions of authorial presence and constructions of an imagined author. We conclude that an (imagined) author plays a key role in media users' ability to critically use interactive media and evaluate the relevance and reliability of media content, rather than functioning as an authoritative originator of the meaning. We argue that this is important not only for contemporary research in critical digital literacies, but also for the intrinsic importance of trust in any act of communicative engagement.

Тhe article analyzes the correlative relationships of man and space and the features of its reflection in literary texts. The attention is paid to the symbolization of space as a result of its cultural meaningful development, to its perception as a factor of personal and national self­identification, the field of historical and cultural development and the existential realization of the national community. The works of the classical artistic heritage, in which space is presented in axiological, moral, ethical and aesthetic dimensions, are considered as one of effective ways to overcome the shortage of active and harmonious relations with reality, its deep semantic content.