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The aim of this article is to argue thatboth"minor literature" and "small literature"should be readdressedas Michel Ragon's "secondary zone literature"from three perspectives. Firstly, it will be argued that "minor and small literature" began to lose its theoretical capacitywith the advent of globalization after the new millennium. Secondly, the problems of "minor literature" and "small literature" will be updated. "Minor literature"mainly has two problems: 1) The first feature of "minor literature"runs the risk of not only dismissing all literature written by minorities in "minor languages", but also diminishing the possible meanings of the term, "minority"; and 2) The second and third characteristics of "minor literature"are unable to explain why only non-European artsareperceived to be political and collective. "Small literature"also has two problems: a) it fails to explain why countries thathardly qualify as 'small', face problems similar to those of "small literature" in the international literary context; and b) it does not have the capacity to explain the literature of minority and marginal groups within a nation or country. Thirdly, "minor and small literature" will be reconsidered as "secondary zone literature", not only in an attempt to emphasizecultural dynamics and power relations based on the visibility of various "minor & small" related literary works, but also to demonstrate that literature may beminor or small, but it always has quantitative implications.

This essay highlights a number of societal, teleological, aesthetic and metaphysical dimensions of literary creation, which resist classification or the demands of the times. On the basis of observations of the spiritual and ideological postulates of the contemporary era, the author tries to decode the place and the essence of literature in its anthropological unchangeable state, both in a diachronic and synchronic aspect.

Im deutschsprachigen Raum ist der Krieg von 1864 zu einer Marginalie in den Geschichtsbüchern geworden. Ganz anders in Dänemark, wo der Krieg ein zentraler Bestandteil der dänischen Erinnerungskultur ist. In Absetzung von der gängigen These, der Krieg sei in der dänischen Literatur vergleichsweise wenig behandelt worden, zeichnet dieses Buch die Tradition des bellographischen literarischen Diskurses über 1864 bis in die Gegenwart nach. Das besondere Augenmerk gilt dabei den verschiedenen Kriegsnarrativen und der Frage, wie Körperlichkeit in diesen Texten verhandelt worden ist.

A history of Maltese culture may be said to reflect in various ways the history of the whole community. Since, much more than in the case of larger countries, Malta could never do without foreign contacts, necessarily causative of a complex process of influences, adaptations and reactions (and consequently only through a study of a set of assimilations can the scholar arrive at a true definition of a Maltese identity), such a history, be it political, social or cultural, is bound to assume a comparative character. This may be all the more so owing to the fact that what one may euphemistically call foreign contacts were nothing less than foreign occupations. The conditions which characterize and modify the process of, say, a political history of subordination may boil down to be the inalienable causes of analogous conditions in the cultural field. ; peer-reviewed

Abstract"Scar Literature," a literary movement in twentieth-century Chinese literature, encompasses a series of works written after the Cultural Revolution. The scar metaphor was taken from the title of a short story, "The Scar," and characterized a series of works with common features. The outlines of "Scar Literature" are blurred, mixed and intertwined with other literary trends and movements. But while Chinese and foreign literary criticism claim that it was short-lived, its influences are visible in several works by contemporary authors. Based on the idea that literary works are prone to being analyzed as a form of persuasive discourse, this paper identifies typical rhetorical procedures of this literary trend and its influences in certain emblematic works: the recurrence of topoi (figures such as "rehabilitation," peculiar to the Cultural Revolution); inductive reasoning (the construction of a historiographic reasoning via the exemplum); recourse to pathos; and the metaphorical figure of the scar bearing the value of the plotline. This analysis applies concepts of New Rhetoric and discourse linguistics, in particular, concepts developed by Olbrecht-Tyteca and Perelman, Amossy's approach about pathos and the role of emotions and "figurality" in argumentation, and Plantin's linguistic theory of the emotions.