Fake news et libelles diffamatoires : Discours contre les fausses nouvelles, instrumentalisation des écritures de l’actualité et poétiques burlesques dans la première modernité (1559-1661)

Free-form satire, emancipated from strictly Horatian / Juvenalian models, and organized around a poetic “I”, distant, critical or even indignant before a changing world, played an important role in the emergence of news writing in Early Modernity, leading to the onset of the periodical press in the 17th century. In order to reflect on the connection between Early Modern information media, and satirical or militant writing, the idiom “fake news”, while seemingly incongruous at first, is in fact particularly useful, as it helps establish a connection with our contemporary practices, such as incorrect news, ideologically-oriented publications, clickbaits, and ironic parodies. By comparing these apparently heterogeneous phenomena, it becomes possible to think, in a coordinated way, about three aspects of the exchanges and hybridization that took place between Early Modern “occasionnels” (short, topical brochures) and “libelles” (satirical or libellous tracts). Like contemporary “fake news”, a term often used by purveyors of equally debatable reports to decry doubtful information produced by the opposing camp, libelles were always entangled in a network of other libelles, ever expending due to the indignation caused by the enemy’s lies. Libelles imitated news writing, feeding on rumors, and led to demystifications that often doubled as critiques of the codes of topicality found in the occasionnels. In certain ways, such criticism contributed to the creation of these codes, by pushing back against them. The forms taken by this satire of ideologically-oriented, or militant news writing went beyond partisan intent; it was sometimes difficult, as it is nowadays on certain satirical websites or social media accounts, to distinguish between activist creative writings, and playful games of wit. At a deeper level, satirical esthetics, whether grotesque (referring to the whole period) or burlesque (referring to its end), could instigate a global exercise of incredulity or unbelief towards the religious and political foundations of the Ancien Régime. On account of such a meta-reflexive dimension, of its great diversity linked to its hybridization of news writings, of its oscillation between partisan and playful humour, depending on the readership’s liking and the publishing industry’s interests, libelle referred to changeable forms quite similar to the fickle realities the moniker fake news refers to nowadays. Conversely, the libelle invites us not to hastily reject one aspect or another of the current network, which might be more homogeneous than it seems at first sight.

Ecological Instability as a Global Issue in the Select Indian Creative Writings in English

Ecological Instability refers to the degradation of landscapes, frequent climatic changes, global warming, pollution, disappearance of various mammals and birds, acid rains, destruction of the wild habitats, massive upheaval in the aquatic world, infertility of the soil, demolition of trees or deforestation, etc. In the recent years the entire global world has been suffering from different types of environmental catastrophes due to instabilities in the smooth mechanism of the ecosystems in both aquatic and non aquatic regions. The concrete solution or remedy lies in the fact that anyhow self centred and mechanized people happily relinquish their claim to rule over the natural resources and engage themselves in the mission of bringing stability in all parts of the global environment. The present paper brings to light the ecological Instability as an issue of the entire globe by investigating the select Indian creative writings written in English. Amitav Ghosh's The Glass Palace and Arundhati Roy's The God of Small Things have unraveled the deep pressing global issue of the ecological unrest by raising the questions of exploitation and extinction of the wild animals and also the impurity or pollution in the river. The paper endeavors its best to find out the solutions to counterbalance the increasing ecological instability for the infinite existence of the Earth.

“The Time of Lament”: A Momand drama of 1711 through the eyes of Pashtun litterateurs

This article offers a comparative examination of the literary responses of four leading early modern Pashtun authors to an armed clash in the Momand tribe in 1711. The responses include a chronicle record in prose (Afżal Khān Khaṫak) and three poems – an elegy (ʿAbd al-Raḥmān Momand), a satire (ʿAbd al-Ḥamīd Momand), and a war ode (ʿAbd al-Qādir Khaṫak). Discussed as both authentic historical documents and creative writings linked to a local social discourse, these Pashto texts enable us to reassess the intensity of everyday literary communications in Pashtun tribal areas in early modern times and append new factual material to the study of ethno-cultural processes within the Persophone oecumene. The salient stylistic and rhetoric diversity of the texts not only highlights the authors’ individual mindsets and literary techniques, but also provides an insight into a variety of social moods, political attitudes and ethics in the Pashtun traditional society.

Women in Pulavar Kulanthai’s Ravana Kaviyam

‘Porul Thodarnilai Ceyyul’ was the name given to epic before the word kāppiyam came into existence. Tamil lexicon refers ‘kāppiyam’ as Sanskrit term. Kāvyam is the word used by Sanskrit scholars for ‘kāviyam’. Ravana Kāviyam written by Pulavar Kulanthai consists of 56 padalams (Chapters) of 2828 Viruttangal i.e., poems. He adopts the story of Ramayana as it is. He is a person who follows Periyar’s ideology of self-respect, feminism etc. His passion for Tamil makes him write many of his creative writings. Periyar advised women to learn all arts, particularly the art of self-defence. Kambar had depicted Sita as Rama’s wife in his epic. The relationship of Rama and Sita varies in various Ramayanas available in India. Ravana kāviyam doesn’t deviate from the parameters of epic. It stands within its grammar. Pulavar Kulanthai portraits women characters with dignity modesty of women.

Gaya Bahasa Teras Berita Covid-19 pada Saluran Youtube CNN Indonesia

This study aimed to describe the style of language on the terrace of news about Covid-19 as seen from the terrace / stylistic lead's writing style. A good news writer tries hard not to want to be too mechanistic. Rigid lead writing will feel tedious and unattractive. News that gives the possibility to treat as a feature are beautified, enlivened, even made like creative writings so that they are attractive to the audience. The approach used was descriptive qualitative. This research's data was the core/intro/lead of Covid-19 news that contains a stylistic style. Data obtained from the CNN Indonesia YouTube social media channel was present around the time of the research, namely starting from March to October. The data collection method used was the observation method with record and note techniques. Data were selected, classified, identified, and then described based on the stylistic lead theory. Nine stylistic terraces obtained from thirteen kinds of stylistic core used in disclosing Covid-19 news leads as the results of the study, namely: (1) punching leads, (2) descriptive leads, (3) contrast leads, (4) questioning leads, (5) quote leads, (6) cumulative curiosity leads, (7) sequential leads, (8) parody leads, and (9) greeting leads.

Bicultural aesthetic interference in translations of Kazakh poetry into English

The article is devoted to the problems of poetic interference as a phenomenon of bicultural intermediate aesthetics based on the example of Kazakh poetry, translated into English. Foreign translations of the poems by Kazakh poets act as a factor in the unity of two cultural phenomena and at the same time conjugative aesthetics. Poetic heritage and translations of the poet serve as a factor of bicultural and simultaneously conjugative aesthetics. Translation analysis clearly shows that the creative writings of Kazakh poet are a bright example of not only lingualcultural but also artistic and aesthetic interferentiality. This is a condition for simultaneous "destruction" of aesthetic integrity of the original and formation of a new one in the translation. We have outlined this phenomenon as conjugative one. Thanks to the introduction into the text of the translation of Kazakh words and symbols, foreign reader often gets first emotional information of communicative, evaluative, abstract synthesis, modal, explanatory nature at the unconscious level, in other words, it focuses on the fact that (identification of common relations with surrounding reality) is common for its perception, and is alien single (about specifics of national picture of the world or fragments (often visual: ornaments, yurts, whip, etc.), and only after that receives the implicit access to the world of content and form of artistic work.

Translingualism and transculturalism beyond fiction works (based on articles and book reviews by Olga Grushin)

The article discusses the literary creative works of the Russian-American author Olga Grushin in the framework of translingual and transcultural transformations typical of this author and her language. The author’s individual style has been influenced by two cultures — Russian, the home culture in which the author has grown and which she absorbed, and American culture in which Olga Grushin succeeded as a writer and whose language she uses in her creative writings. The goal of our research is to analyze linguistic features of Grushin’s short essays and book reviews written for international magazines. The research revealed that translingual and transcultural changes that the author has undergone are reflected not only in her fiction but also in other genres where the author’s creativity and imagination might be somewhat restricted. Grushin’s translingualism is evident on the lexical level, embracing words borrowed from Russian. The author introduces them into her English text in many ways. The syntax of her book reviews and essays is definitely different from that of her novels but its cultural traces and author’s individual features are retained: complex sentences with a variety of coordinate and subordinate clauses, numerous homogeneous parts of the sentence, participial phrases, attributes, and abundance of parallel constructions are typical of Grushin’s non-fiction writing. The structure of her language reveals the tradition of Russian classics, the love for expressive syntax that facilitates the author in creating a certain image and brings in thoughts and feelings shared by the author.

Poetic Negotiations: Salad Bowl Feminism in Selected Poetry of Fehmida Riaz, Pat Mora and Joan Loveridge-Sanbonmatsu

The research attempts to evaluate the depiction of women's oppression in specific postcolonial contexts at the hands of the interlocked power pattern formed by manifold factors like patriarchy, class conflict, religion, ethnicity and imperialism in the selected poetry of the renowned Pakistani poetess Fehmida Riaz, the Latino American Poetess Pat Mora, and the Japanese poetess Sanbonmatsu. It applies the theory of Postcolonial Feminism to bring to the fore the oppression of postcolonial women at the intersection of gender, class, race, religion and culture, hence, offering a critique of Western Feminist discourse and its slogan of sisterhood, which tends to erase heterogeneity in women's situations across the globe. The theory of Third World Feminism as well as the portrayals in these poetic compositions from a variety of postcolonial social formations, highlight the fact that postcolonial women are not a monolithic and archetypal suffering category as presented in Western discourses; instead, their resistant agency and subversive subjectivity also stands at the center of their creative writings.

The Dichotomy of Pain and Hope in Bhutanese Nepali Diasporic Poetry

Diaspora is a locale where both the pain and hope work together. The pain of being separated from one’s homeland is compensated with the hope of a better life than that of home back. The creative writings of the diasporas reflect the same dichotomy of pain and hope. This exploratory study on Bhutanese Nepali diasporic poetry displays the same features: the Bhutanese Nepali diasporans have a life full of pain at the loss of their homeland, but they are living with the hope for good life in the days ahead. On the one hand, the trauma they have undergone because of expulsion from their homeland, the experience of being refugees in Nepal for about two decades, and the hardship of transition caused by the third country settlement has been expressed in their poems. On the other hand, their creations show the rays of hope for their life ahead in the host land. They have hopes for a good life, for the preservation of their culture, and real return to Bhutan. In both the themes and styles, many poems simultaneously display both of these aspects of their lives.