Journal articles: 'Miller protagonists' – Grafiati (2024)

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The article studies the poetics of M. Miller’s novel in the context of the initiation plot representation. The search for the hero is considered as one of the main problems of modern American literature. We use the cultural-historical and comparative methods and the method of narrative analysis in our research. The relevance of the study is the synthesis of approaches to the analysis of the novel “The Song of Achilles” by M. Miller. The study hypothesizes that, the technique of remythologization enables the writer to represent the universality of the human development stages and the crisis trials that adolescents face. The novel is considered both in the context of rethinking of the mythological narrative and in the aspect of representing the archaic model of initiation. The mythological plot basis, which implies plot determinism, makes it possible to emphasize the axiological, emotive discourse and protagonists’ inner changes. The parallel initiation of Patroclus and Achilles explicates the dichotomy of the godlike and the human elements in the inner nature of the characters. Patroclus, being close to the hero, shares his fate. He literally and metaphorically becomes Achilles in the finale of the novel, entering the battle in his armor and under his name. Achilles, on the contrary, shows human features due to the fact that he matures next to Patroclus. The article concludes that the theme of formation and internal evolution of the person in the context of the initiation rite and mythological narratives plays a plot-forming role in modern American literature.

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AbstractWith the debate about same-sex marriage raging in the United States, this paper asks whether the canonical scriptures of Judaism and Christianity offer any justification for blessing same-sex unions. It looks to the ways that the Bible is used by proponents and opponents of same-sex marriage. It analyzes the hermeneutics of the religious left and the religious right, particularly as they grapple with the "clobber texts" of Lev. 18:22 and 20:13. It then turns to the biblical book of Ruth, which critic J. Hillis Miller describes as having "been alienated from itself, translated from itself" through new uses. The paper puts the book of Ruth to yet another new use/misprision, using it as a prooftext to support same-sex marriage. The book has already been upheld by lesbian readers of scripture because of the intimate relationship between the protagonists, Ruth and Naomi, but this paper "misreads" the text differently. Ruth describes how a marriage made between an Israelite and a Moabite brings about the line of King David, one of the most important figures in the Bible and the man from whose line the Messiah is expected to come. The biblical law, however, is unequivocal: Moabites are not permitted to enter into the community of Israel. Juxtaposing the levitical laws (ostensibly) prohibiting hom*osexuality with those banning Moabites from Israel, this paper argues that the religious left could hold up the book of Ruth as a biblical model for allowing marriage that seems explicitly forbidden by biblical law.

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This paper considers the manifestations of nostalgia in the narrative and plot scenes of the protagonists of Russian young emigrants’ fiction of the 1930s – early 1940s. The focus is on the works of B. Poplavsky, G. Gazdanov, and J. Felzen. A reduction of nationally oriented nostalgic myths and feelings can be seen in the prose of young emigrants. However, a strengthened existential nostalgia is evident: a longing for the fullness of existence and wholeness of being or awareness of the impossibility of finding a new Home in the reality where one is abandoned and unrooted. The national nostalgia reduction determines the national identity reduction. The internal crisis of the heroes under study proves to be an identity crisis, intensified by an existential crisis. Their situation in an alien world is an existential dead end amid total disorientation. The heroes’ attempts to overcome existential nostalgia are different but equally fruitless: the entry into the “paradise of friends” and the Russian women’s love (“Apollo Bezobrazov” and “Home from Heaven” of Poplavsky), the myth of the House and the understanding of one’s past (“A Tale of One Travel” and “Night Roads” of Gazdanov), an appeal to the poet’s work, bringing the feeling of fullness of being in Russia (“Letters about Lermontov” of Felzen). To conclude, when interpreting nostalgia (its reduction), we find the prose of young emigrants to be closer not to the “older” generation of Russian emigration but to the Western emigrant prose (“Tropic of Cancer” by Miller and “Triumphal Arch” by Remarque).

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Margaret Atwood’s famous work, The Handmaid’s Tale, offers innovative and intriguing perspectives on gender and gender roles, as they are dramatized and problematized in the context of a dystopian society that in many ways is a projection of our own. Particularly interesting in the novel are the roles on men, represented by the principal male characters: the Commander, Nick, and Luke. As Atwood employs these personae to describe at least three different manifestations of masculinity —all with their own conflicts and possibilities—, the first season of the television version of the novel, created by Bruce Miller and resealed in 2017, explores, expands, and exploits various visions of manhood that help understand not only the protagonist’s but also the reader’s/viewer’s world. This paper is an attempt to establish a dialogue of sorts between Atwood’s and Miller’s viewpoints on masculinity through their portrayals of these three characters and their interactions with their protagonist and their context.

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Arthur Miller’s “Death of a Salesman” (1949) presents the working-class masculinity under threat. This paper has sought to argue that the threat is posed not only by the protagonist’s inability to assert his working-class masculine identity due to his (fear of) unemployment, but also by the instrumental use of reason by the employer and hegemonic masculinity. It has tried to unfold this threat in terms of R. Connell’s idea of ‘hegemonic masculinity’ and CALM report on crisis of modern masculinity published in 2014. The assumption is that Miller has depicted this threat by presenting the male protagonist in such an unfavorable situation that it relegates him to the vulnerable position of not being able to assert his masculine identity. It is also assumed that this threat is further validated by the presence of dominant masculinity. This research has sought to dramatize the playwright's consciousness of the masculinities in conflict and its outcome in America. This research is critically significant because reading this drama from the perspective of the crisis of subordinate or working-class masculinity is a far cry.

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This research paper investigates the theme of imprisonment in Arthur Miller’s Death of a Salesman. This play demonstrates persons who are crushed and stifled by society which filled its citizens' mindswith certain myths, values, and systems that may contrast with honour and ethics. As a result, they appear to be formed of a number of contradicting selves, and sometimes torn between two worlds: the internal world of fantasies of a lost past and the external reality of an unwelcoming present world.The clash, between these two worlds, grows unstable and volatile till pushing its victim to submersion or even death. As Death of a Salesman begins, the audience would notice the existence of two time lines or plots. The first is that of the present time during the year1948 which moves on through a series of scenes that ends with Willy Loman’s suicide. The second is the 1931 action which moves on through a series of scenes that ends with Biff’s discovery of his father with a woman at a hotel in Boston. This play is concerned with the tension between the external reality and the protagonist’s private inner world. The original title chosen by Arthur Miller for this play is The Inside of His Head. Under his friends request, he changed it to the present title with a subtitle, “Certain Private Conversations in Two Acts and a Requiem”. Taking into consideration the play’s three titles, one would guess how far Miller relies onmemories and present events to reveal not only what his protagonist, Willy Loman, suffers from but the American society as well.

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Abstract This note proposes, through an investigation of the drama’s flashback structure, that Death of a Salesman illustrates a divided impulse in Arthur Miller—a division immediately noticeable in his choice of first names for his characters—between making his play and his protagonist Jewish, and making them universal or representatively American.

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Since the late 2010s, when the Black Protests were sparked in Korea (September 2016) and the Constitutional Court of Korea ruled that criminalizing abortion is unconstitutional (April 2019), contemporarily and internationally produced films, series and documentaries focusing on abortion have been actively introduced to the Korean public alongside with the popularisation of global OTT services. Most of them explicitly or implicitly support women's choice and the right to abort, but they often perpetuate the suffering, shame, and victimization of women who undergo abortions. For exemple, they make maternal grief inseparable from the pregnant body, embody the excruciating physical suffering of the protagonist’s abortion to the point of making the audience shudder, or keep the protagonist (slu*t-)shamed, without cause, throughout the story of abortion experience. Erica Millar puts ‘emotion’ at the center of abortion politics, criticizing the politics of ‘choice’, whether anti-abortion or pro-choice, for naturalizing, depoliticizing, and normalizing desperation, grief, and shame as the experience of abortion. This article extends her ideas into the dimension of ‘affect’ and, building on Brian Massumi's discussion of politics of affect, explores affect via film, how anti-abortion power operates and the cinematic practices that resist it.

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A figura quase mítica de Homero legou-nos um dos expoentes para o estudo do gênero épico: Ilíada, que versa sobre a queda da poderosa cidade de Tróia e a ação de um de seus protagonistas, o semideus Aquiles. Madeline Miller, escritora norte-americana, toma a saga do herói e produz a releitura A canção de Aquiles (2021), romance que narra os eventos da Guerra de Tróia (além dos anos formativos da vida de Aquiles) a partir da visão de Pátroclo, a quem o texto clássico refere-se como grande amigo do semideus e Miller retrata como seu amante. Reconfigurando um dos textos fundantes da cultura ocidental a partir de uma sensibilidade hom*oafetiva estruturante, Miller contempla Bakhtin (1997) quando este fala sobre a estabilidade relativa do gênero, Wood (2011) ao tratar sobre as formas subversivas de uso das mecânicas dos gêneros textuais clássicos, e as considerações de Regina Dalcastagnè (2012) acerca da contestação do território literário e seus discursos heteronormativos, o que então era apenas subtexto nos versos de Homero. Desse modo, Miller questiona os valores hegemônicos que permeiam o épico, imbuindo um de seus derivados, o romance, com uma possibilidade de representação LGBTQIA+ passível de leitura à luz da Teoria Queer.

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El análisis del crecimiento empresarial y sus factores explicativos, adoptan un papel protagonista y actual en el proceso de globalización en el que se encuentra la economía mundial. En este sentido, el presente trabajo trata de dar una visión conjunta sobre los aspectos financieros que deben ser considerados en el estudio del crecimiento empresarial, realizando para ello una breve sinopsis de la evolución teórica de la propuesta inicial de Modigliani y Miller, centrando especialmente el trabajo en los aspectos fiscales, como factor que puede condicionar el crecimiento empresarial y la estructura financiera de la empresa.

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Death of a Salesman is the representative work of American playwright Arthur Miller. The author used superb writing skills to showcase the protagonist’s almost crazy inner world. In recent years, research on this drama has mostly focused on perspectives such as tragedy, loss of value, and the disillusionment of the American Dream, with few people conducting research and analysis from the perspective of trauma theory. This article will be based on trauma theory to explore the true cause of Willie Lohmann’s death from conflict, disorder, and failed repair which are the three general laws in the development of trauma.

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The present study explores the representation of the woman’s character in literary works and also encompasses the retelling of Greek mythology from Madeline Miller’s female protagonist’s perspective. Gender stereotypes established by Greek mythology require that women must be submissive and marginalized. Those women characters that are not according to these stereotypes are termed as negative characters. Moreover, this representation of women’s stereotypical characterization is done through predisposed language which is informed by male-ruling sexist ideology. These linguistic choices need to be addressed through feminist stylistic analysis. The present study will analyze Circe’s character from the selected text Circe by Madeline Miller (2018) from the perspective of feminist stylistic analysis by employing Sara Mills’ model of feminism (1995). It will investigate how Madeline Miller converts Circe’s negative portrayal into a positive and empowered character in her retelling by challenging the stereotypical characterization of women. In particular, the study will look into Circe’s character at the level of discourse in order to present her as a positive and empowered character.

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Los hermanos Tomás y Bernardo Landa se iniciaron como defensores de la causa realista, después militaron en las luchas por la independencia teniendo un destacado protagonismo en las campañas de 1821 y 1823. Tomás fue emisario secreto de San Martín y uno de sus informantes más activo, fue condecorado con la Orden del Sol. Bernardo fue gobernador subdelegado de Moquegua; se une a Miller en 1821, convirtiéndose en su colaborador más eficaz en la brillante campaña del sur. Retorna a Moquegua para preparar la campaña a puertos Intermedios, es apresado y fusilado en 1822.

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Arquiteturas corporais, consumo, alta e baixa cultura e processos de hibridização na hipermodernidade são os temas centrais do recorte teórico do presente artigo, a partir da crítica empreendida por autores como Baudrillard (2004, 2003, 1991), Lipovetsky (2004), Canclini (2003, 1999). Como obra-síntese dessas questões, escolhemos o romance “A sombra das vossas asas” (1997), de Fernanda Young, no qual o corpo da escritora ganha voz no plano narrativo; o enredo se constitui a partir de uma reconstrução corporal da protagonista, com vistas à aparência da modelo Lee Miller. Participam igualmente dessa leitura aspectos midiáticos, presentes também na figura da romancista, além da sedução, proporcionada por uma espécie de projeto pessoal de si mesmo, guiado pela moda e pelo consumo.

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abstract Arthur Miller’s discourse on universal guilt and tragedy manifests in numerous aspects of his autobiographical play After the Fall. This article incorporates a moral paradigm according to Holocaust survivor Victor Frankl: reality is tragic due to pain, guilt, and death. A majority of Miller’s cast reflects the human struggle in rejecting this paradigm through illusions. Quentin, however, suffers reality’s tragedy and perseveres alongside Holga to become a tragic optimist; he lives on with empathy despite tragedy. Quentin, however, realizes the limits of his empathy in taking care of Maggie. Becoming a tragic optimist and persevering is the only way to survive a protagonist position in a Miller play; however, not everyone is capable or willing to do so.

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Circe is renowned for her profound knowledge of sorcery as a minor goddess in Greek mythology. Her depictions and representations are numerous in literature, painting, music, and popular culture, ranging from Homer’s classical masterpiece The Odyssey to John William Waterhouse’s painting Circe Invidiosa (1892). Recently, Circe has been recreated with a modern kick by the contemporary American novelist Madeline Miller. In Miller’s novel Circe (2018), Circe voices her own story as the first-person heroine. The novel focuses on the spiritual growth and self-fulfilment of the protagonist. Reimagined by Miller in her family home in the early chapters, Circe is the innocent yet neglected child, always strange, pushed away, looked down upon, and alienated by her parents, siblings, and relatives. Miller first portrays Circe in her father’s halls where she is made to believe that she is a failure, she is incomplete, lacking, and neither a nymph nor a goddess. However, as her powers as a witch begin to unravel, some of her practices draw the attention of the patriarchs in her life, and she is exiled by these men to an island named “Aiaia.” How a woman can turn a punishment given by men into an advantage is shown in the novel. Marginalised and exiled to a deserted island with a house, forests, herbs, plants, and animals, Miller’s Circe practices her witchcraft, discovers life, and manifests her true self. In this respect, this article focuses on how Circe’s island, which she turns into her “home,” empowers Circe as a woman.

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The present is a case study with a special focus on the institution of marriage which is inflicted upon women for their exploitation as represented in the selected text. This objective has been realized through a text-based exploration of the exploitation of female members of the society in the name of marriage. The selected text has been analyzed in light of feminist ideology. The research highlights the exploitation of women in the 1950s. The institution of marriage has been viewed as a hard chain that restricts female members of American society from flourishing as individual beings. The outcome of this exploitation has been seen in the negation of this institution by the protagonist and her negative impression of this institution. The study has consulted the perspectives of feminists such as Josephine Donovan, Kate Millet and Sheila Cronan to critically evaluate the suffering and its consequences for the protagonist

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Tomando como punto de partida diversas teorías sobre la monstruosidad en la frontera México-EE. UU (Alemán 2006; Miller y Van Riper 2012) y referentes de lo monstruoso-femenino (Kristeva 1983; Creed 1993), este artículo pretende analizar From Dusk Till Dawn (Robert Rodriguez, 1996) como un mosaico transcultural reconvertido en alegato sobre la aceptación del “otro” a través de la monstruosidad de su protagonista femenina. This article analyses the concept of the monstrous feminine entrenchment through Robert Rodriguez’s From Dusk Till Dawn and Planet Terror. Drawing from current socio-political imaginaries that have put the spotlight on the oppressed power across women in film, the insertion of horror and the monstrosity in their narratives display a transnational process that reflects cinematic U.S.-Mexico border discourses.

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Arthur miller (1915-2005), as the most outstanding master of drama in the United States and known as the "conscience of American drama", accurately depicted the post-war real society in the United States and the changes in social values. In 1949, Miller wrote the Death of a salesman, which became the peak of his drama creation and won the Pulitzer prize and the New York theatre critics circle award. The play tells the story of the United States in the turbulent social background of the 1940s, the protagonist Willy Loman's dream and the collapse of the whole family. By means of the combination of realism and expressionism, the drama reproduces the changes of social values and the sadness of the little people. In previous studies, most scholars focused on the disillusionment of the "American dream" of the minor characters in the drama, and took the deterioration of the "American dream" and the change of values in American society as the starting point. However, it may be difficult to understand Arthur Miller's interpretation of the "American dream" in the play without tracing the root of the "American dream" and exploring the deep cultural genes of the United States. This paper aims to analyse Arthur Miller's contradictory writings on the American dream in Death of a salesman from the perspective of meme.

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En este artículo se aborda un tema inédito sobre el escultor Jaime Pimentel. Se analiza concretamente su papel en el ambiente artístico malagueño y los nexos e interrelaciones con sus protagonistas más destacados durante los más de sesenta años de su trayectoria profesional. Se tratan las temáticas de las esculturas, los procesos creativos, el uso de fórmulas y la concepción de las obras de Pimentel en parangón con los escultores que, de la misma o de distintas generaciones, conviven en el periodo cronológico de su trayectoria profesional. Finalmente, y tras los posibles diálogos de su producción con la de los artistas más populares de Málaga, se estudia la presencia de su Maestra Anne Grimdalen y de los nórdicos Vigeland y Milles como fuente recurrente de su escultura.

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Historically, few important writers have focused on the developmental disorders of their characters. In recent years, however, there has been a growing interest in representing the life of people diagnosed with neuro developmental conditions such as autistic spectrum disorders. In the novel Colin Fischer, Ashley Edward Miller and Zack Stentz give voice to an Aspergian named Colin Fischer. While identifying how the symptoms of the syndrome are expressed in Colin, this paper examines this complex and unique protagonist and the way in which home-based intervention plays a significant role in his personal development. Colin demonstrates how individuals diagnosed with Asperger’s face multiple challenges, but there is often something in which they excel. His extraordinary memory and his skill in accomplishing diverse tasks that most people would find boring are astonishing; they focus on Colin’s quiet dignity in the face of constant victimisation. The social message is that it is crucial to develop these skills in order to make the individual self-confident and successful.

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Looking at Henry James’s literary contexts can fruitfully help shed light on his work. Brilliantly versed in the literary traditions of his time, he was influenced by American, English, French and Russian writers. This article traces the influence of Emerson’s notions of freedom, natural spontaneity, innocence and self-confidence as expressed in his essays “Nature” (1836) and “Self-Reliance” (1841) in Daisy Miller (1878), whilst it investigates the ways James’s novella articulates the all-important dichotomy of self-sufficiency (individual freedom, autonomy, innocence) vs. social conformity (fear, heteronomy, hypocrisy) at play in the narrative. Daisy is the female embodiment of self-reliance as conceptualised in Emerson’s hom*onymous essay – a free, innocent, uncultivated, wild, and unsophisticated spirit – and so she is never afraid. Epistemology turns out to be central to the conception of the novella, as Winterbourne and the American matriarchs are shown struggling to grasp the protagonist’s puzzling innocence and true nature. As Daisy is a wild being living in accord with Nature as conceived by Emerson, the novella is punctuated by critical moments where the heroine is most at home when enmeshed in the green world, particularly in the outdoor scenes in the Château de Chillon in the Swiss Alps, the Palaces of the Caesars, the Colosseum and the Protestant cemetery in Rome.

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Abstract This article will formulate an explanatory model in which all the specifics of the controversy between Rome and Constantinople in the schism of 1054 will be considered in theological and ecclesiastical-political terms. Thus, both the complexity of the historical context and the diversity of the motives of its protagonists will be taken into account. In a first step, the current state of research on the events of 1054 will be presented, before confronting it with open questions in a second step. They are derived partly from the historical context, partly from the ambivalent information conveyed by Latin and Greek sources. The latter entails several source-critical problems, but thereby offers a chance to pose new questions to „old“ sources. Based on these open questions, the sources will be re-read and re-interpreted in terms of determining the course of events in 1054 and the motives of the protagonists of the 1054 schism.

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Orhan Pamuk is a leading contemporary Turkish writer and winner of the 2006 Nobel Prize for Literature. In his novels he tackles certain universal themes, such as the search for a new identity, the conflict between East and West, the domination of Western culture and its impact on Turkish society, the spread of consumerism, feminism, the search for love and its vanity. Pamuk is influenced by the rich literary tradition of Turkey and at an equivalent time he is affected with the writers like Dostoevsky, Albert Camus, Miller and plenty of others. As a postmodernist author, Orhan pamuk’s fiction echoes the priority for the identity of someone. This novel The White Castle is studied for the exploration of the Question of identity like what is real identity of the person. Pamuk himself has faced the perplexity of identity as he is suspect by media of revealing the national sentiment. The protagonist’s Hoja and the Venetian traveler are not happy with their gift identity and within the course of their life they assume a replacement identity.

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Este artigo visa descrever a agentividade dos principais protagonistas (discentes e docentes) nas propostas apresentadas pela Declaração de Bolonha, em seu Decreto-Lei 74/2006, de 24 de março, e pelos programas implementados nas Faculdades de Direito das universidades públicas portuguesas. Seguindo pressupostos teóricos do Interacionismo Sociodiscursivo (BRONCKART et al, 2004), de uma Retórica da Ação como apontam Miller (1984) e Bazerman (2006) e contributos descritivos desenvolvidos por Fillmore (1975, 1977), poder-se-á observar que, nos documentos, os agentes principais são representados por papéis sintático-semânticos que não seriam expectáveis nestes textos. Tal constatação pode vir a atestar a existência de uma semiotização diferenciada entre a linguagem sobre o trabalho e a linguagem como trabalho, conceitos desenvolvidos por Nouroudine (2002). Procura-se mostrar, assim, através de determinado viéz descritivo, que o ‘pretenso’ objetivo da própria Declaração de Bolonha, o de estimular uma maior participação do aluno no processo de aprendizagem, de forma a torná-lo mais autónomo e mais facilmente empregável no contexto europeu, pode vir a ser seriamente comprometido.

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Ernest Miller Hemingway (July 21, 1899 - July 2, 1961) is one of the most widely read American novelist of the 19th century, whose works have been variously interpreted. His fiction was influenced by different sociological, political and psychological trends of the time. The adventures of his personal life inspired some of the fascinating stories in his fiction. A Farewell to Arms projects the concept of individual struggle in the face of stiff resistance. His protagonist helplessly strives to define his existence; he, however, miserably fails in his struggle for actualizing his existence. But ultimately, he learns the secret of a meaningful existence. This study traces these elements of existentialist philosophy and examines its influence on the art of Hemingway. Although his views are also influenced and modified by the trends of the time, the influence of existentialist philosophy is vividly visible in all his writings. The paper analyzes the major works of Hemingway, particularly his famous novel A Farewell to Arms, in the light of existentialism. It specifically focuses on the rise and fall of the hero and heroine in the novel when they try to define their existence in this free and void world.

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Este artigo visa propor uma reflexão sobre duas obras de dois gêneros diferentes: uma peça teatral e uma produção cinematográfica: a peça As Bruxas de Salém (The Crucible), do dramaturgo norte-americano Arthur Miller, escrita no ano de 1953 e sua adaptação para o cinema, que leva o mesmo nome, de 1996. Levando em conta as discussões dentro da disciplina de Literatura Comparada, observamos alguns pontos de encontros e desencontros entre as duas produções, longe do viés da supremacia de um gênero sobre outro. Para guiar nossa reflexão, buscamos observar as abordagens de certos enredos, temáticas e personagens, principalmente o das personagens femininas. Ao assistir algumas cenas do filme, é possível observar que alguns estereótipos femininos sobressaem-se um pouco mais do que na peça, pois o filme parece utilizar alguns recursos para intensificar certas relações, beneficiando a imagem do protagonista. O propósito deste trabalho é pensar sobre o produto final, e com isso, propõe uma reflexão sobre a transposição de um texto para outra linguagem, com suas riquezas, que, embora priorize algumas leituras postas em primeiro plano em alguns casos, descortina brechas que expõem um processo de desencontrar para reencontrar, numa harmonia que prevalece na mensagem final transmitida pelas duas linguagens.

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Le 6 octobre 1984, l’émission Droit de Réponse animée par Michel Polac entend dénoncer le fonctionnement et l’action de la DASS. L’émission attaque non seulement cette administration qui a en charge alors près de six cent mille enfants, mais également l’Éducation surveillée, des directeurs de foyers et des éducateurs. Cette émission de débats s’appuie sur le témoignage de plusieurs personnes, présentes sur le plateau de télévision, venues faire part des incohérences de l’administration et des violences institutionnelles notamment dans un internat de rééducation pour jeunes « caractériels » situé en Seine-Maritime. À la suite de ces révélations, les journalistes s’emparent de « L’Affaire Polac » ou « L’Affaire du Logis » en référence au nom de l’établissem*nt mis en accusation, enquêtent, donnent la parole aux différents protagonistes et obligent par conséquent les pouvoirs publics à agir. Cet article se propose donc de s’interroger sur le mode de traitement par la télévision et la presse de cette affaire dont la médiatisation ne sera pas sans conséquence.

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In this article David Barnett documents a practice-as-research project that employed Brechtian approaches to stage dramatic material. The Crucible by Arthur Miller is a realist text in which the protagonist, John Proctor, redeems himself for the sin of adultery by taking a heroic stand against the Salem witch-hunts. Existing scholarship has revealed a series of gendered biases in the form and content of the play, yet these findings have never been systematically realized in performance. While appearing to defend democratic values, the play’s dramaturgical strategies coerce agreement, and this represents a fundamental contradiction. Brecht offers a method that preserves the written dialogue, but interprets it critically onstage, deploying a range of devices derived from a materialist and dialectical interpretation. The aim of the production was to re-present a play with a familiar production history and problematize the political bases on which it conventionally rested. The article discusses the rationale for the theory and practice of contemporary Brechtian theatre and offers the production as a model for future critical realizations of other realist plays. David Barnett is Professor of Theatre at the University of York. His publications include A History of the Berliner Ensemble (CUP, 2015), Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014), amd Rainer Werner Fassbinder and the German Theatre (CUP, 2005).

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Ten years after Quatre mille marches. Un rêve chinois (2004), La Lenteur des montagnes (2014) reasserts Ying Chen's enduring critical engagement with the creative process. Chen has interrogated her own personal trajectory as a woman and a writer, more specifically as an ‘écrivain migratoire’ (her phrase): ‘Je vis la migration et l'écriture comme une seule et même expérience.’ Régine Robin's desire to ‘fictionnaliser l'inquiétante étrangeté que crée le choc culturel’ (1993) might be at play in Chen's series of novels ended with La Rive est loin (2013). However, it is the parallel quests of the female protagonist and that of the writer unfolding and evolving alongside that are of special interest. Having relinquished familiar bearings and language, both are seeking a new perspective and a new voice. If dis-location is at the heart of the exilic experience, writing is a way not only of re-grounding the self but also of bringing together old and new cultural landscapes. This essay will examine how critical reflection in its dialogical form has always been intertwined with Chen's creative project and informs it.

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In this essay I argue that Anthony Trollope's The Warden (1855) anticipates and problematizes Trollope's oft-cited representativeness of the Victorian period generally, and Victorian liberalism in particular. As JŸrgen Habermas has shown, Victorian liberalism should be construed less in terms of its promotion of pluralism than in terms of an"ambivalence" as to its practical implications. Correspondingly, The Warden offers a performative exemplification of Victorian liberalism that is instructive precisely because it paradoxically refuses definitively to represent it. The instruction I would draw from this paradox relates to the moral "pinch" that Septimus Harding, the novel's protagonist,feels as a result of his aspiration to "be right" as opposed to being "proved" right. This paradox disrupts the reader's reflexive inclination to read Harding's emancipation in traditionally Romantic terms. Just as Harding was "awoken" from the self-induced oblivion of a hegemonic morality, so too the reader is awoken from the self-induced oblivion of the disciplinary conventions of Victorian literary experience that D. A. Miller and David Lloyd critique. Thus the novel can be said to embody Victorian liberalism precisely to the extent that it illuminates the question of such embodiment as open, as a practical problem confronting and animating Victorian society. Hence Trollope makes Harding's imaginary cello-playing the medium or 'embodiment' of his"awakening": the pursuit of "right being" is a matter of "testing" the boundaries of political action and aesthetic imagination alike.

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Margaret A. Miller, “George Eliot’s Wetland Form” (pp. 291–320) This essay relies on the 1747 Lincolnshire bog-woman and her porosity of bodily boundaries as a useful heuristic to historicize the ontological unity between gender unconformity and the environment. George Eliot’s The Mill on the Floss (1860), which shares its setting with the Lincolnshire bog-woman, is a novel of wetlands and women, of gender and drainage, and of femininity and floods. This essay reads the novel’s bog-women, including protagonist Maggie Tulliver and an oft-forgotten minor character, the widowed Mrs. Sutton, alongside nineteenth-century agricultural records of Lincolnshire, including manuals on the locally specific land-improvement technique—warping—used to drain the county’s various wetlands. In doing so, the essay argues that The Mill on the Floss reveals land improvement, particularly the postenclosure acts of drainage and warping, as a negative form for female Bildung. In negotiating how to write female development within a patriarchal society, Eliot exposes the violent limitations that ideas of arbitrarily redefining and reclaiming environments as arable and usable “land” during an era of enclosure and nascent global capitalism impose upon female futurity. Ultimately, Maggie’s alignment with wetland ecologies renders her an anachronistic figure of a preindustrial, predrainage past. In a present climate crisis moment of increased urgency to restore wetlands worldwide for their carbon storage capacities, what does it mean to read Maggie’s story not in spite of her death and foreshortened life, but instead as that of an incipient bog-woman who refuses to be drained?

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La vie provisoire et À quoi ça rime ? ont en commun un parcours diégétique qui s’ouvre sur une scène extraterritoriale (respectivement la République dominicaine et le Portugal), retourne à Montréal et se déplace dans les Laurentides, lieu de retraite et d’ermitage littéraire. Dans chacun des deux romans, le personnage central fait une multitude de deuils (oncle, épouse, ami, relations amoureuses, vie antérieure) et aspire au détachement, à devenir autre. Cette découverte de l’autre en soi prend une dimension hautement intertextuelle : le protagoniste de La vie provisoire lit et relit les auteurs russes dans son refuge et invente un conte sur le modèle des Mille et une nuits, tandis que le narrateur d’À quoi ça rime ? suit les traces de Fernando Pessoa (lui-même connu pour ses hétéronymes) dans Lisbonne et cherche des vecteurs identitaires dans la littérature. Cet article se propose d’étudier la représentation de la lecture dans les deux derniers romans d’André Major : ses modalités et ses dispositifs intertextuels, ses incidences diégétiques et son potentiel d’altérité. Comme le montre l’auteur, l’acte de lire prolonge l’axe thématique des oeuvres antérieures de l’écrivain, ainsi l’idée de désertion, et reprend certaines questions récurrentes de la littérature québécoise, notamment les oppositions vie-écriture (Réjean Ducharme, Jacques Godbout) et nature-culture (Louis Hamelin).

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Construire à Strasbourg : architectes et avatars (1824-1914) – Du milieu du XIXe siècle à la Seconde Guerre mondiale, Strasbourg a connu un développement urbain considérable alors même que l’Alsace oscillait de part et d’autre de la frontière franco-allemande. Ce fut un immense chantier aussi bien sur le plan architectural que politique. Quels en furent les bâtisseurs ? Cet article vise, d’abord, à offrir un aperçu statistique de ce millier d’architectes et d’entrepreneurs qui ont œuvré à Strasbourg pendant cette période. Il esquissera, ensuite, des profils-types de ces constructeurs, tantôt bien connus comme Gustave Krafft ou Fritz Beblo, tantôt moins, tel Paul Dürr, proposant ainsi une « typologie » des professionnels du bâtiment en fonction de leur origine et leur formation, et s’interrogeant sur l’éventuel impact qu’ont eu les « annexions » ou « rattachements ». Enfin, il tentera de brosser un tableau du milieu professionnel des architectes dont la corporation était alors, justement, en voie de construction. L’étude est sous-tendue par des recherches en cours dans le cadre du projet métacult dont l’objectif est de mettre en évidence des figures et les protagonistes des transferts culturels, en architecture et urbanisme, entre la France et l’Allemagne. S’appuyant principalement sur les annuaires d’adresses (Adressbücher), elle essaiera, nonobstant, de croiser les informations issues de ces publications avec la littérature existante sur les architectes de Strasbourg et sur le développement de la profession à cette époque.

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Encara que aquestes estructures que ara anomenem plataformes sempre han estat presents en alguns sectors, és a partir de la instauració de l’economia digital que han passat a tenir un paper protagonista en les nostres vides. Sense entendre els mecanismes que regeixen la dinàmica de les plataformes digitals, que són diferents dels associats a l’economia més tradicional, es fa difícil comprendre molts aspectes del funcionament de l’economia actual. L’objectiu d’aquest article és oferir una introducció a la idea de plataforma i a les seves característiques. Primerament, revisem el concepte general de plataforma, les especificitats de les plataformes digitals i les particularitats del seu funcionament. En segon lloc, descrivim les característiques de les plataformes que ens semblen més rellevants per entendre’n els efectes socials i econòmics. Finalment, escollim tres d’aquestes característiques (el grau de digitalització, l’obertura quant a accés, provisió, ús i distribució, i els seus mecanismes de governança) per elaborar una proposta de classificació de les plataformes que volem que contribueixi a ordenar una mica la nostra concepció del fenomen. L’esquema de classificació porta a la definició de diferents tipus de plataformes que es comporten de manera diferent, com demostren els exemples que identifiquem per a cadascun. Esperem que la nostra anàlisi contribueixi a un millor enteniment del canvi de paradigma que comporta la digitalització de l’economia.

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Death of a Salesman written by Arthur Miller premiered in 1949 to critical acclaim and commercial success. Scholars have been paying attention to research on the female characters, the protagonist from the psychological perspective and father-son relationship, none of these works deals with the husband-wife relationship in Death of a Salesman from a psychological aspect.The paper will examine the family competences of Linda and Willy, dissecting the husband-wife relationship combing the psychological motivation. In the first section, through psychological rejuvenation, Linda embodies a natural force of vigor that infuses in Willy the power of warmth. In the psychological interpretation of Death of a Salesman, the relationship between Willy and Linda formed a sharp contrast between psychological pressure and purifying salvation. Willy suffered from relational anxiety, fearful stress, repressive daily, the loss of body, which brought disaster to his wife, Linda, his sons, Biff and Happy. For this reason, the play arranged a comforting character, his wife, Linda, to contrast the relationship between the couple. Concerning the suppressive daily, Willy’s stubborn personality is linked with frustration and depression in pursuing fantasy; his wife, Linda, gives him warm comfort for his empty dreams with her kindness, love, and above all, intelligence. In the case of his sons, Biff and Happy, especially Biff, on whom Willy places high expectations, Linda saved Willy from the relational tension through her pure nature when the sons frustrate Willy; Linda supports Willy and solves the arguments between Willy and sons to ease the tension. When Willy is faced with an unbearable blow from his job, Linda gives him advice on how to solve problems, such as when Willy loses his job, and the wife advises him to understand the boss and how to deal with the problem. The loneness from family and work also leads Willy to have affairs with an unknown woman; Linda tolerates everything and invisibly reminds Willy. It can be said that the relationship between the wife and her husband is a relationship of dependency, the wife attached to her husband in life and emotion.

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Resum: El Curial e Güelfa és una novel·la que sorprèn per la seva modernitat. Tot i que conserva certes reminiscències medievals, com a resultat del gènere cavalleresc que la caracteritza, hem de situar-la dins de l’ambient humanista de la Itàlia del Quatttocento: tant les fonts literàries, com molts dels temes que hi apareixen, parlen d’un context social e intel·lectual que es viu en aquests moment a Itàlia. El protagonista, Curial, amb el seu propòsit d’harmonitzar armes i lletres, n’és el millor exemple. El jove cavaller ha de concloure un procés de maduració personal –de crisi existencial, també– per poder assolir l’objectiu que persegueix: casar-se amb la Güelfa. Per aquesta raó, a banda de les seves gestes cavalleresques, es dedicarà a l’estudi i comprendrà que només mitjançant l’esforç que duu a la virtus podrà obtenir la necessària nobilitas que, gràcies a un procés de reconeixement del seu hom*o interior, farà d’ell una persona íntegra. Paraules clau: Humanisme, Curial, prosa acurada, armes i lletres, bivium, virtut, noblesa. Abstract: Curial e Güelfa shocks by its own modernity. In spite of some medieval reminiscences as a result of the atmosphere of chivalry it depicts, it belongs within the humanistic influence of the Italian Quattrocento. The author’s mindful prose and his selection of literary sources or the variety of themes, correspond to the social and intellectual context of the day in Italy. Curial, as the main character in the novel, is a true example in his endeavour to blend arms and letters. The young knight must undergo a process towards adulthood which will also entail a personal crisis in the quest to achieve his goal: wedding Güelfa. With this aim in mind, and along with his chivalry frays, he will bow down on study, in the understanding that virtus itself will only be achieved through exertion in order to achieve the necessary nobilitas, which will on its own turn him into an integral being after acknowledging his own hom*o interior. Keywords: Humanism, Curial, mindful prose, arms and letters, bivium, virtue, nobility.

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Abstract While a narratological reading of the Gospels is relatively well accepted, their characterisation as parts of the genre of ancient biography was much antagonised in former times. Although things have changed thanks to seminal monographs on the problem from the second half of the 20th century and to continuing work, some questions remain open. Therefore, a narratological comparison of Gospels with concrete representatives of the ancient bios could possibly help to clarify the relations between both. In what follows, the oldest Gospel is read simultaneously with Plutarch’s Biography of the Younger Cato. Three observations are made: a) The structures of the narratives of Cato and of Jesus match to a high degree. Both protagonists carry out certain duties while operating in public. In most instances, they achieve great successes. From a certain point on, however, they irrevocably approach failure and ruin. This structure of story seems to form the basis both of the Gospel and of the biography of Cato, written ca. three decades later. b) Obviously, both works narrate the life of a man, his exceptional character, his extraordinary operations in public and his non-natural violent dead. In Plutarch’s version, the Younger Cato fails in the end. At first sight, also Mark’s Jesus fails to accomplish his mission. By God’s action he is turned into the saviour of the faithful however. This claimed unsurpassed relevance of the story is contrasted with the laconism of the narration. c) Both narrations are composed out of both factual and fictional elements. Thus, readers cannot separate both elements precisely in every instance. Both stories are imagined worlds designed for the in narratology so called game of fiction. As can be learned in Plutarch, authors of stories like the Life of Cato or the Gospel of Mark guarantee a certain sense of responsibility in their work. Summed up, the narratological comparison has illustrated both the close affinity and the individual specifications of both narratives. It thus helps to clarify the position- fixing of the Early Christian literature within its Graeco-Roman context.

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Learning outcomes The learning outcome of this study is to bring to the table of a wider intellectual audience, a unique model of community-based entrepreneurship, which is working wonders with its unique selling points (USPs) in promoting sustainability and conserving the ethos of villages and, at the same time, generating livelihoods through traditional farming techniques adopted by the rural population residing in the Himalayan region of India.The proposed case study can be used as a replicable model in other parts of rural India and other emerging economies to start and scale up a similar “integrated rural development model” through effective policy advocacy and public–private partnerships and to develop sustainable farmlands and livelihoods for rural India. It has a definite potential to be used as a pedagogical tool in postgraduate programmes offering courses in microfinance, financial inclusion, social and community entrepreneurship, sustainability, entrepreneurship, community development finance and rural immersions and public policy. Case overview This case study is set in the backdrop of 2023 having been declared by the UN as the International Year of Millets and India being the homeland for millet cultivation. The objective of the case study is to bring to the table of a wider intellectual audience, a unique model of community-based entrepreneurship operating in the Himalayan region of rural India. The community-based entrepreneurship model works on the USP of promoting sustainability and conserving the ethos of villages and generating livelihoods through traditional farming techniques. This case study traces the journey of Roopesh Rai (protagonist and the founder of Bakrichhap), the community-based entrepreneur and his challenges in setting up the enterprise. The narrative is built in the light of a series of interviews with Rai, the main protagonist and the founder of Bakrichhap, as well as the people of Goat village by Komal, a post-doctoral fellow in the area of community-based enterprises (CBEs). Through this narrative, the case writers’ endeavour was to understand how CBEs such as Bakrichhap were providing a means of integrated rural development in the hilly region of Uttarakhand, India. Also, how such enterprises were thereby curbing distress migration, unemployment and a large-scale erosion of the cultural heritage and traditional and indigenous farming techniques of the land. In the first seven years of the operations of this uniquely curated CBE, Rai endeavoured to iron out many bottlenecks. This case study also highlights the gamut of challenges faced by community-based entrepreneurs like Rai in designing strategy for growth and expansion. What strategy should Bakrichhap follow for expansion to the other regions of the country? Should all the three existing verticals of the enterprise be scaled up parallelly or should each individual vertical be expanded one after the other in a phased manner? Stemming out from the main dilemma of strategic expansion were the related issues of funding (finance) and the formation of an effective team (HR). Study level/applicability This case study can be used in undergraduate, graduate and executive programmes offering courses in microfinance, financial inclusion, social and community entrepreneurship, sustainability, entrepreneurship, community development finance and rural immersions and public policy. Research methods This comprehensive case study is written by using the triangulation of data collected through a series of personal interviews, website information, news articles, personal observation and field visits. The research design used is single case (holistic; Yin, 2003, 3rd edition). The timeline of this case study is 2021 to 2022 and place is Nag Tibba, Uttarakhand, a Himalayan state in North India. Supplementary materials Teaching notes are available for educators only. Case code CSS 3: Entrepreneurship.

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Abstract INTRODUCTION: Ruxolitinib (RUX) has demonstrated efficacy in patients (pts) with MF, but many pts discontinue (D/C) RUX due to loss of response or treatment (Tx)-related cytopenias. Fedratinib (FEDR) is an oral, selective JAK2 inhibitor approved for Tx of pts with MF, including those previously treated with RUX. In the single-arm, phase 2 JAKARTA2 trial of FEDR 400 mg/day (d) in pts with MF resistant/intolerant to prior RUX, 31% of pts achieved a spleen volume response and 27% achieved a symptom response with FEDR. The most common adverse events (AEs) in JAKARTA2 were gastrointestinal (GI) events, including diarrhea in 62% of pts, nausea in 56%, and vomiting in 41%. A temporary clinical hold was placed on FEDR in 2013 due to suspected cases of Wernicke's encephalopathy (WE). The ongoing, single-arm, phase 3b FREEDOM trial (NCT03755518) further evaluates the safety and efficacy of FEDR in pts with MF previously treated with RUX. Unlike JAKARTA2 and other early FEDR trials, FREEDOM includes prospective strategies for preventing or mitigating GI AEs, thiamine level decreases, and potential WE. We investigated the safety of FEDR 400 mg/d in FREEDOM, including the effectiveness of these strategies. METHODS: Eligible pts are aged ≥ 18 years with DIPSS-defined intermediate- or high-risk, primary or post-PV/ET MF, ECOG PS ≤ 2, platelet count ≥ 50 ×10 9/L, and spleen volume ≥ 450 cm 3 by MRI/CT or palpable spleen ≥ 5 cm below the left costal margin (LCM). Pts must have previously received RUX for ≥ 3 months (mo), or for ≥ 28d with development of RBC transfusion requirement (≥ 2 units/mo for 2 mo) or grade ≥ 3 thrombocytopenia, anemia, hematoma, or hemorrhage. All pts received FEDR 400 mg QD in continuous 28d cycles. AE mitigation strategies include prophylactic and symptomatic use of anti-nausea/vomiting and anti-diarrheal Tx, thiamine supplementation, FEDR dosing modifications, and administration of FEDR with food. All pts who received ≥ 1 FEDR dose were evaluated for safety. AEs were coded using MedDRA v24.0 and graded (G) by CTCAE v5.0. RESULTS: At data cutoff (April 9, 2021), 34 pts had been enrolled and 16 pts continued to receive FEDR. Reasons for FEDR Tx D/C in > 1 pt were lack of efficacy (n = 5) AEs (n=4; 1 was Tx-related [G3 thrombocytopenia]), disease progression (n = 2), pt decision (n = 2), and to undergo transplant (n = 2). Median FEDR Tx duration was 28.3 weeks (range 1.6-101.3); 20 pts (59%) had received > 6 Tx cycles and 14 pts (41%) completed > 12 cycles. Median average FEDR dose was 400 mg/d (range 298-400).At BL, median (range) age was 68.5 years (49-82), time from MF diagnosis was 3.4 years (0.1-17.4), and spleen size was 15 cm (3-31). Most pts (62%) had primary MF, and all pts had received ≥ 3 mo of prior RUX Tx; the most common reason for prior RUX D/C was loss of response/Tx failure (41%). During FEDR Tx, 22 pts (65%) received ondansetron and 11 (32%) received loperamide. GI AEs reported in > 10% of pts were constipation (47%), diarrhea (35%), nausea (26%), abdominal pain (24%), and vomiting (18%). The frequency of nausea, vomiting, and diarrhea decreased as Tx continued (Figure). Most GI AEs were G1/2 (including all events of nausea, vomiting and diarrhea) and there were no Tx-related G3/4 GI AEs. No pt required FEDR dose-reduction, interruption, or D/C due to a Tx-related GI AE Overall, Tx-related G3/4 AEs were reported in 11 pts (32%), including anemia in 7 pts (21%), and neutropenia, thrombocytopenia, and hyperkalemia in 2 pts each (6%). The cases of hyperkalemia occurred in the setting of acute renal failure or of relevant concomitant conditions. At BL, 1 pt had a thiamine level below the lower limit of normal (LLN; 70 nmol/L); thiamine level was normalized before the pt received FEDR Tx. Thiamine levels dropped below the LLN during FEDR Tx for 4 pts between cycles 2-3 (and for 1 pt at end of Tx); levels returned to normal for these pts with thiamine supplementation and did not require FEDR interruption or reduction. Five other pts received prophylactic thiamine supplementation. There were no reported cases of WE. CONCLUSIONS: FEDR was generally well tolerated. These data suggest the frequency and severity of GI AEs may be reduced via early implementation of GI prophylaxis. Use of GI-directed therapies may have increased the incidence of low-grade constipation. Monitoring thiamine levels before FEDR initiation and periodically during FEDR therapy is recommended. Figure 1 Figure 1. Disclosures Gupta: Pfizer: Consultancy; Novartis: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Constellation Pharma: Consultancy, Honoraria; AbbVie: Consultancy, Honoraria; BMS-Celgene: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; Roche: Consultancy; Incyte: Honoraria, Research Funding; Sierra Oncology: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees. Yacoub: Agios: Membership on an entity's Board of Directors or advisory committees; Acceleron Pharma: Membership on an entity's Board of Directors or advisory committees; CTI Biopharma: Membership on an entity's Board of Directors or advisory committees; Novartis: Membership on an entity's Board of Directors or advisory committees; Incyte: Speakers Bureau. Verstovsek: Gilead: Research Funding; Genentech: Research Funding; Ital Pharma: Research Funding; Promedior: Research Funding; NS Pharma: Research Funding; Celgene: Consultancy, Research Funding; CTI BioPharma: Research Funding; PharmaEssentia: Research Funding; Protagonist Therapeutics: Research Funding; Incyte Corporation: Consultancy, Research Funding; Blueprint Medicines Corp: Research Funding; Roche: Research Funding; Sierra Oncology: Consultancy, Research Funding; AstraZeneca: Research Funding; Novartis: Consultancy, Research Funding; Constellation: Consultancy; Pragmatist: Consultancy. Mesa: Novartis: Consultancy; CTI: Research Funding; Promedior: Research Funding; AOP: Consultancy; Sierra Oncology: Consultancy, Research Funding; La Jolla Pharma: Consultancy; Genentech: Research Funding; CTI: Research Funding; Celgene: Research Funding; Constellation Pharmaceuticals: Consultancy, Research Funding; Pharma: Consultancy; Incyte Corporation: Consultancy, Research Funding; Samus: Research Funding; Gilead: Research Funding; Abbvie: Research Funding. Harrison: BMS: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Shire: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Gilead Sciences: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Roche: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Janssen: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; AOP Orphan Pharmaceuticals: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Promedior: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Novartis: Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Keros: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Geron: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Constellation Pharmaceuticals: Research Funding; Galacteo: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Abbvie: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Incyte Corporation: Speakers Bureau; Sierra Oncology: Honoraria; Celgene: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; CTI BioPharma: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau. Kiladjian: Bristol Myers Squibb: Membership on an entity's Board of Directors or advisory committees; PharmaEssentia: Other: Personal fees; Taiho Oncology, Inc.: Research Funding; Incyte Corporation: Membership on an entity's Board of Directors or advisory committees; Novartis: Membership on an entity's Board of Directors or advisory committees; AOP Orphan: Membership on an entity's Board of Directors or advisory committees; AbbVie: Membership on an entity's Board of Directors or advisory committees. Fazal: Agios: Consultancy, Honoraria, Speakers Bureau; Amgen: Consultancy, Honoraria, Speakers Bureau; BMS: Consultancy, Honoraria, Speakers Bureau; Celgene: Consultancy, Honoraria, Speakers Bureau; Gilead: Consultancy, Honoraria, Speakers Bureau; GlaxoSmithKline: Consultancy, Honoraria, Speakers Bureau; Incyte: Consultancy, Honoraria, Speakers Bureau; Janssen: Consultancy, Honoraria, Speakers Bureau; Jazz Pharma: Consultancy, Honoraria, Speakers Bureau; Karyopharm: Consultancy, Honoraria, Speakers Bureau; Novartis: Consultancy, Honoraria, Speakers Bureau; Sanofi Genzyme: Consultancy, Honoraria, Speakers Bureau; Stemline: Consultancy, Honoraria, Speakers Bureau; Taiho: Consultancy, Honoraria, Speakers Bureau; Takeda: Consultancy, Honoraria, Speakers Bureau; Tolero: Consultancy. Foltz: Incyte: Research Funding; CTI Biopharma: Research Funding; Constellation: Research Funding; Bristol Myers Squibb: Membership on an entity's Board of Directors or advisory committees, Research Funding; Novartis: Honoraria, Membership on an entity's Board of Directors or advisory committees; Sierra: Research Funding; Amgen: Other: Spouse employment and equity ownership.. Miller: CTI: Consultancy, Research Funding; Incyte: Consultancy, Honoraria, Research Funding, Speakers Bureau; Novartis: Honoraria; Takeda: Honoraria, Speakers Bureau; Celgene: Speakers Bureau. Gharpure: Bristol Myers Squibb: Current Employment. Hernandez: Bristol Myers Squibb: Current Employment. Wang: Bristol Myers Squibb: Current equity holder in publicly-traded company, Ended employment in the past 24 months; VIR Biotechnology: Current equity holder in publicly-traded company. Talpaz: Imago: Consultancy; Celgene: Consultancy; Constellation: Membership on an entity's Board of Directors or advisory committees; Bristol Myers Squibb: Membership on an entity's Board of Directors or advisory committees; Novartis: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Takeda: Other: Grant/research support .

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Research methodology The case study is based on a social entrepreneurial journey where the authors have used an interview method to get the insights from the protagonists and the employees. Rigorous interviews were conducted online and in person for deep analysis of the protagonist’s strategies and decisive dilemma. Secondary data was collected from company’s website for facts and figures. Case overview/synopsis This case study is a story of indigenous tribes of Odisha from the eyes of a woman who, with her co-founder, empathized with their vulnerable life and took on the challenge of creating sustainable livelihoods by establishing Millet Magic Foundation. The Millet Magic Foundation was established in 2021 by Shyama and her cofounder to uplift the indigenous tribe of Mayurbhanj by providing them livelihood through millet-based products. The foundation launched their millet-based snack products with the brand name WOWMOM. Millet Magic Foundation created social impact for the tribals by providing them with employment, fair wages, health care and social well-being. The specialty of the Millet Magic was reverse positioning and focusing on the bottom of the pyramid. The success of the Millet Magic Foundation relied on its mission to uplift the life of these indigenous tribal, especially the women, by overcoming the challenges with the strategies to establish Millet Magic as a social enterprise. Complexity academic level The case study is primarily suitable for postgraduate programme to teach the concept of social entrepreneurship in the entrepreneurship module. The case study can also be used for highlighting the role of social enterprise in sustainable economic development of emerging economies.

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Some recent definitions of biographical fiction emphasise its separation from historical fiction and that this distinction is indicated by the use of the protagonist’s real name. In this paper I analyse novels by Australian authors Peter Carey, Steven Carroll, Robert Drewe, Richard Flanagan, Kate Grenville, and Alex Miller, that are based on the lives of figures from the past. Some of these retain the protagonist’s name while others change the name but activate readers’ knowledge of the historical subjects through different means. I argue that the name is not the only indicator in fiction that activates the force of biographical connections and, furthermore, that the insistence on these two components of the definition could exclude from relevant discussion novels based on the lives of real people that shed light on how history is constructed in fiction.

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Abstract Feminist approaches and gender studies are among the most notable works devoted to the Thousand and One Nights. Šahrazād monopolizes the attention and is treated as a monolithic character, there are in fact several Šahrazāds, depending on the textual version considered. The one who learns history and has three children (ZER) is not the same as the one who learns medicine and has no children (G/Kayseri). On the other hand, Šahrazād would benefit from being reintegrated into her universe beside the other characters: in the Nights, a story can occur with male protagonists (The Second Shaykh) and be repeated with female protagonists (The Eldest Lady), or feature characters who biologically change their gender, through metamorphosis or, in their appearance, through disguise. Such behavioral variations can affect the entire population of the Nights, which new work proposes to approach in the manner of demographers, as has been practiced for illustrated albums (Brugeilles, Cromer, and Cromer) and as Françoise Lavocat’s research on the French novel shows. Now, with some adjustments (Katz; van Renterghem), it seems possible to transpose this type of approach to medieval Arabic literature and more particularly to the Thousand and One Nights.

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In her novel, Madeline Miller proposes reconstructing Circe’s legends from classical sources by offering a feminine, even feminist, perspective on events. In the protagonist’s account, the witch’s history appears as a delineation from the despotic deities and a way of coming closer to the mortals which ultimately ammounts to abandoning her own condition. The central part of the novel starts from the story of Odissey and continues with events narrated in Telegony, poem which was dedicated to the son of Odysseus and Circe who unwillingly became the killer of his father. Although she follows the Homeric narrative in detail, the author sometimes relates critically to the literary model. The events told by Odysseus and Circe in a heroic or debunking form reveal their polivalence. In the extension of the Homeric narrative, the last part of the novel encompasses the events that occurred after the return to Itaca of Odysseus, unable to find fulfillment on his native lands because of his thirst for the unknown and adventures. The hero’s image gradually darkens, the author accentuating his violence or his generalized suspicion. Reconstructing the events from Circe’s perspective allows Madeline Miller to delineate from the Odyssey which she has followed scrupulously up to a certain point.

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Jonathan Miller appeared in September 2009 on “Shark Tank,” the ABC television reality show featuring entrepreneurs versus angel investors in a discussion of the business value proposition and to win a negotiation for an investment from one of the 4 Sharks. The company he founded, Element Bars, a maker of custom energy bars, needed investment capital. Prior to appearing on the show, Miller had considered several financing options available to entrepreneurs: loans and other debt capital and equity capital, each of which are evaluated in the case. Miller had a good feel for the different types of capital to use for this new venture, having started several ventures in the past and winning the Kellogg School of Management business plan competition, the Kellogg Cup, in 2008. The case includes Miller's decision to forego the investment offer he won on television, instead he pursued lower cost of capital equity.Students several aspects of raising capital, including raising equity and debt capital. Students need to learn to know as much or more about fundraising as the professionals who provide the capital-in fact, entrepreneurs have to understand the interaction among combinations of capital within their enterprise-whether debt and/or equity in different combinations. Often, teaching about equity relates to teaching how venture capital investment professionals look at deploying funds. Receiving equity into the entrepreneurial firm has much different attributes and issues. Teaching about debt often occurs at much higher volumes in typical MBA courses; this entrepreneurial debt must occur at a much smaller dollar value. This protagonist, Jonathan Miller, has exceptional preparation habits, which teaches students the value of the skills to prepare themselves and their businesses for investment.

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La sociedad actual es el resultado de una preservación del heteropatriarcado arraigado y difundido por medio de productos culturales y artísticos. Un ejemplo de ello es la compañía cinematográfica de animación Disney. En contraposición, Dina Goldstein genera un contradiscurso para criticar la realidad que destina la compañía a las mujeres protagonistas de sus filmes. Partiendo de un posicionamiento feminista y de una metodología cualitativa, se analizan y comparan las imágenes de ambos productos visuales. De esta manera, se facilita y reconoce un recurso significativo para combatir el machismo que Disney genera, desde la Educación Artística.

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El cine español realizado bajo los preceptos nacionalcatólicos del régimen franquista es un material especialmente relevante para estudiar los discursos de género. En el presente texto se analizan dichos discursos en una producción de 1954 dirigida por Ignacio F. Iquino: La pecadora. María de Magdala. Con el análisis de dicho film se plantean dos objetivos principales: detectar las herencias de María Magdalena en la protagonista del film y demostrar cómo todo ello se articula en función de los ideales y contra-ideales de feminidad impuestos por el régimen dictatorial. Palabras clave: Cine católico, Ignacio F. Iquino, historia de las mujeres, franquismo, María Magdalena.

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Este Memorial Descritivo apresenta uma pesquisa acadêmica em Artes Cênicas em sua práxis: teórica e prática. Por meio de uma proposta metodológica outra para a criação de dramaturgias teatrais, a partir do trabalho corporal com a exploração dos cinco sentidos, ganhando repertório corpóreo para criação cênica. A etapa seguinte é a criação de poesias autorais e biogeográficas, que também podem ser chamadas de poesias-corporais, uma vez que se caracterizam na sí­ntese do que o corpo escreve, porque experivivênciou. A criação das dramaturgias surge da combinação dessas duas etapas e escolhe a epistemologia descolonial para coexistir no mundo das produções. Epistemologia esta que defende ser todo/toda sujeito/sujeita produtor/produtora de arte, de cultura e de conhecimentos e preza por dar consciência disso. Dessa proposta metodológica outra, surgiu nesse contexto de quarentena a Companhia Teatral Corpos&Poesias com o intuito de colocar em prática artí­stica os estudos e leituras. O presente trabalho traz a descrição da prática, embasada teoricamente na pesquisa e expõe a potência da criação coletiva na mediação desse processo criativo que tem como referência as pesquisas de Jussara Miller (2005), para pensar a potencialidade criativa do corpo cênico, e de Augusto Boal (1980), da área teatral, pensando no/na sujeito/sujeita como protagonista de suas vivências e representações.

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In her play Prima Facie, playwright and lawyer Suzie Miller uses theatre to critique legal responses to sexual violence. This article thus offers an analysis of the play as both feminist theatre and feminist advocacy. We examine the rhetorical and performative strategies it deploys, arguing that they are effective because they mobilise long-standing feminist tropes which use a representative figure of the traumatised victim and the repetition of statistics to position the audience as potential victims of violence. Such strategies, however, fail to account for the complexity of sexual violence, intersectional understandings of it, or its relationship to other structural forms of harm that flow from turning to the state, as articulated by Black feminist scholars. These limitations also function in the play’s loop between an indictment of law’s failings and recuperating the law as a privileged site for responding to sexual violence. We read this tension as exemplifying the play’s enactment of a cruelly optimistic relationship to law, which is, we argue, a recurring feature in feminist cultural advocacy around sexual violence. However, we also suggest that reading the play through the words of its protagonist can open visions of justice beyond what Carol Smart has described as the ‘siren call of law’.