Marxist Literary Theory

Wpisując się w tradycję „odszyfrowywania” Lalki Bolesława Prusa, artykuł bada wskazówkę interpretacyjną ukrytą w nazwisku głównego bohatera. Na jej podstawie Wokulski zostaje przedstawiony jako postać uosabiająca XIX-wieczne ideały ewolucjonizmu i darwinizmu społecznego. Analizy uwzględniają kontekst europejskiego imperializmu i teorii „ras skazanych na wyginięcie”. Opierając się na tych ustaleniach, artykuł proponuje interpretację nazwiska Wokulskiego i Łęckiej, tytułu powieści oraz samego dzieła z  perspektywy studiów postkolonialnych, koncentrując się na zagadnieniach związanych z patriotyzmem.

The 'Mohicans' of Powiśle: Echoes of Scientific Racisms and Eugenic Thought in Bolesław Prus's The Doll (Lalka) This article presents a reading of the "Meditations" ["Medytacje"] chapter of Bolesław Prus's The Doll [Lalka] through the lens of late-nineteenth-century scientific racism and eugenic thought, treating these discourses as a critical context for the era's Polish nation-building debate. The analysis begins by noting the discrepancy between Wokulski's acts of altruism (e.g., his assistance to the Wysocki family) and the disdain he exhibits toward the people he encounters during his walk. The article examines how Wokulski racialises the inhabitants of Powiśle by labelling them "Mohicans," contextualising this trope within pan-European colonial discourse as deployed in Polish debates on society under partition. Furthermore, Dr Szuman's research is situated among contemporary theorists of scientific racism-whose writings were part of Prus's personal library-and the core tenets of fin-de-siècle eugenics. Traces of civilisational and degenerative discourses in Wokulski's internal monologues are interpreted as expressions of a worldview rooted in Social Darwinism. Ultimately, this reading of Wokulski's stroll re-evaluates the Positivist ideal of "organic work" [praca organiczna] as a means of nation-building, revealing its complex ideological undercurrents.

The research article, 'The Life of Women in Dilara Hashem's Novels' by Anupam Hasan, explores the multifaceted realities, struggles, and social discrimination faced by women in middle-class Bengali society as depicted in the works of prominent Bangladeshi novelist Dilara Hashem. Hashem's novels are largely female-centric, focusing on marriage, motherhood, and individual freedom. While advocating for women's rights and bodily autonomy, she distances herself from radical feminist movements and strongly condemns the objectification of women.

Through an analysis of key novels such as Ghor Mon Janala, Ekoda Ebong Ananta, Sthobotar Kane Kane, Amalkir Mou, Kaktalio, Sadar Andar, Onukto Podaboli, and Setu, the author illustrates how Hashem portrays patriarchal oppression, lack of education, domestic confinement, and the complexities of marital discord. Characters like Nazma, Saira, and Mohini reflect women's courage and resilience against societal constraints. Ultimately, Hashem views motherhood as the ultimate fulfillment and glory of a woman's life while striving to balance traditional social security with personal dignity, highlighting that true emancipation requires overcoming systemic patriarchal prejudices.

he urgency of a novel narrative which surmounts T the polemics projected by foregoing feminist ideologies is a given. This study therefore, seeks to interrogate the attachment of women to nature in their patriarchal ecology which is exclusive of their biological makeup rather the subjugations they encounter on a constant basis and their effort to rise above these through radical means. Ngugi mirrors a new perspective of a feminist trajectory which defines the female gender recourse to partisan affiliations in her bid to survive the harshness of the society to which she is exposed. Using Ngugi's Wizard of the Crow and Devil on the Cross as primary texts, this work will make references to other secondary materials especially, earlier or later works of Ngugi wa Thiong'o, as it attempts to redefine revolution from the perspective of a female avant-garde approach which comes to term with the fact that the African female must deal head on with her patriarchal society with its attendant manacle, dearth and debacle, which only the Grace Nyawira and Jacinta Wariingacan rationalize.

The paper looks at Narendra Modi's efforts to build a nation since 2014 by using both Marxian political economy and Gramscian theory of cultural hegemony. It maintains that the rule of the BJP represents a single system of domination that functions at both the material and the ideological levels, rather than seeing these as two separate or coincidental phenomena. In terms of the economy, the Indian state has been restructured to serve the interests of a small group of corporate elites, the most prominent being the Adani and Ambani business groups, via methods such as electoral bond financing, the preferential allocation of contracts, and the systematic sale of public sector assets. Using Acemoglu and Robinson's idea of extractive institutions, the article shows how this dominance by the elite has led to a growing disparity between overall GDP growth and real human development, as shown by India's low HDI rating, the fact that wealth is concentrated among the top one per cent, and the reduction in public spending on health, education, and welfare. On the ideological front, the article applies Gramsci's concept of cultural hegemony and Charlotte Thomas's (2020) analysis of Hindutva hegemony to show how the BJP has replaced the previous Nehruvian secular consensus with a majoritarian Hindu nationalist way of thinking. It points out the ways in which this hegemonic initiative creates acceptance rather than depending entirely on coercion: by taking control of the mainstream media, something commonly referred to as "godi media", by developing a new group of organic intellectuals made up of retired bureaucrats, military personnel, and corporate technocrats, and by using religious symbols and language to cover up material poverty. Coercive measures, such as vigilante groups and laws like the Citizenship Amendment Act, are used in conjunction with these consensual methods to marginalise religious minorities, especially Muslims. The article concludes that Modi's nation-building initiative must be seen as a dual and mutually reinforcing process in which the consolidation of economic power by the elite and the establishment of cultural hegemony together ensure the material interests of India's ruling class while preventing the emergence of a subaltern counter-hegemony.

International on the 13 th November 1922, Lenin made the following remarks about the newly minted and much contested politics of the United Front: At the Third Congress, in 1921, we adopted a resolution on the organisational structure of the Communist Parties and on the methods and content of their activities. The resolution is an excellent one, but it is almost entirely Russian, that is to say, everything in it is based on Russian

An examination of contemporary Conrad scholarship and an examination of and revisiting landmark studies by Ian Watt and Fredric Jameson, and an examination of several of the most prominent works with a view to untangling the hidden nuances of Romanticism in relation to labour and work.

Narrativas de indivíduos enredados nas maquinarias burocráticas e administrativas do estado moderno, de que Amerika de Franz Kafka é exemplo, possibilitam investigar formas pelas quais a vida moderna se vê representada na literatura do início do século XX. Entre as fontes que alimentam o turbilhão da modernidade, e que são figuradas por essa obra, se encontram: a industrialização da produção, os avanços tecnológicos, a criação de novos ambientes e o consequente desaparecimento de outros, a rapidez do ritmo de vida, as novas formas de poder corporativo e de lutas de classe, a explosão demográfica e o crescimento urbano. Acentua-se, nesse romance kafkiano, o caráter negativo da experimentação da modernidade pelo indivíduo, dado a posição ocupada pelo protagonista dessa história: de estrangeiromigrante e exilado. O presente artigo pretende analisar de que modo a modernidade e o sujeito moderno na condição de migrante são representados na obra Amerika ou o Desaparecido.

Seit wann gibt es Kapitalismus? Diese Frage strebt ins Zentrum dessen, was unsere Welt im Innersten zusammenhält. Unsere Antwort ist zentral dafür, wie wir das zerstörerische System überwinden und mit wem. Die wesentlichen Streitpunkte sind: Gibt es Kapitalismus womöglich schon immer, erst seit der Existenz der Handel treibenden europäischen Stadtstaaten ab dem 11./12. Jahrhundert, seit der kolonialen Ausplünderung Amerikas nach 1492, oder entstand er im späten 16., frühen 17. Jahrhundert mit der Einhegung des Gemeindelands?

Die Antworten markieren die Differenzen zwischen Wirtschaftsliberalismus, Weltsystemtheorie und marxistischen Kapitalismuserklärungen. In den 1980er Jahren kulminierten sie in der Brenner-Debatte und der Kritik des »Political Marxism« am »Neo-Smithian Marxism«. Sie besagt: Nicht Markt und Handel sind entscheidend – Märkte gebe es kapitalistisch, vor- und nichtkapitalistisch, entscheidend sei, ob eine Klasse der Eigentumslosen existiert, für die der Markt zum Zwang wird. Diese Klasse entsteht mit der »ursprünglichen Akkumulation«.

Der am 16. Juli 1956 in Louisiana geborene Schriftsteller Tony Kushner hat über die Geburt des Kapitalismus ein großes Drama geschrieben: »Hydriotaphia«. Wenn es jemals einem Theaterstück gelingen sollte, den Kapitalismus mit einem einzigen kühnen Streich zu erledigen, dann ist es dieses.

Bu çeviri, Voloşinov'un 1926 tarihli "Slovo v žizni i slovo v poèzii" [Жизнь слова и слово в жизни] başlıklı Rusça denemesinin bir İngilizce çevirisinden (I. R. Titunik çevirisi, Freudianism: A Marxist Critique kitabının Ek I'i olarak yayımlanmıştır) Türkçeye aktarılmıştır.
"...Yanlış bir görüş -ama bazı Marksistlerin bile bağlı kaldığı bir görüş- toplumbilimsel yöntemin ancak şiirsel biçimin ideolojik etmen (içerik) aracılığıyla ek bir karmaşıklık kazandığı ve dış toplumsal gerçeklik koşullarında tarihsel olarak gelişmeye başladığı noktada meşrulaştığını ileri sürer. Bu görüşe göre biçim, kendi başına, toplumbilimsel değil, bizatihi sanatsal nitelikte kendine özgü bir doğaya ve yönetim sistemine sahiptir.
Böyle bir görüş, Marksist yöntemin temel dayanaklarıyla -tekçiliği (monizm) ve tarihselliği ile- kökten çelişir. Bu ve benzeri görüşlerin sonucu, biçim ile içeriğin, kuram ile tarihin birbirinden koparılmasıdır."

Summer2026 This article examines religion as a mechanism of ideological and social control in dystopian literature, particularly from a Marxist perspective. By analysing The Children of Men by P.D. James, Brave New World by Aldous Huxley, and The Handmaid's Tale by Margaret Atwood, this study explores how ruling authorities manipulate religious beliefs to enforce obedience, suppress individuals, and sustain hierarchical social orders. This paper illustrates how religion, rather than serving as a path to spiritual enlightenment, often functions as an ideological force to mask their exploiting the masses and maintaining the status quo through literary depictions. Employing a qualitative critical approach, drawing on Karl Marx's theory of religion as the "opiate" of the masses, this paper argues that dystopian regimes instrumentalise faith to induce complacency and legitimise inequality, making faith a means of pacifying rather than liberating individuals. However, the analysis also highlights in each text where characters find spiritual peace, hope, and personal faith, suggesting that religion can also harbour the potential for resistance. Ultimately, this study explores the dual nature of religion in dystopian societies. Simultaneously, it is frequently wielded as an instrument of control; it also contains the seeds of spiritual resilience and social defiance, encouraging readers to critically examine the role of religion in both fictional and real-world societies.

This paper presents the proposal of the work, Prof. Dr. Stefan Gandler would have done as the new director of the "Institut für Sozialforschung" at Frankfurt University from 2018 on, if he would have won the process for the election of the new director of the Institut for Social Research at Frankfurt/Main.

Como será o amor das pessoas rudes?" -Alguns apontamentos sobre a prosa de Cacaso "What will love be like for rude people?" -Some notes on Cacaso's prose Resumo: A noção de "povo", por mais abstrata que seja, funcionou até certa altura como ideia reguladora das mudanças virtualmente presentes na arte de vanguarda brasileira. O presente ensaio almeja demonstrar como a última prosa de Cacaso traça a falência dessa aposta, ou pelo menos da relação dos intelectuais com tal entidade, e, por conseguinte, um afastamento da noção de nacional popular. Para tanto utilizamos a leitura imanente, que tenta captar os princípios mediadores entre realidade e ficção. Como resultado, encontramos a desativação do conceito de malandragem como potência utópica e a crise tanto do polo da intelectualidade quanto do popular.

The aim of this research paper is to explore by comparing and contrasting between the two literary characters Hamlet and Oblomov how they are in their essence indecisive that are exploited by William Shakespeare and Ivan Goncharov in different historical ages to project different visions of the human situation. Every author is influenced by his age to certain degrees and if the art of characterization of William Shakespeare is set against that of Ivan Goncharov, it is because of the difference of ideological perspectives. William Shakespeare's character Hamlet comes from the Renaissance England and Ivan Goncharov's character Oblomov comes from the nineteenth century Russia. The former is in certain ways different from the latter despite the fact that those traits of the both characters are the same as indecision and procrastination. The comparison and contrast will be highlighted in this paper in terms of Marxist hermeneutics, which is scientific theory and method of analyzing the social and literary types in the context of class milieu. Applying Marxist literary hermeneutics to the art of characterization of both the authors, the present study tries to introduce new portrait and re-evaluation of the personages of the two literary types in an innovative perspective.

This article explores the garden as a site and practice of Black speculation across two strains in the itinerary of the Antiguan American writer and gardener, Jamaica Kincaid: her works on empire, colonization, and the postcolony, and her two books on gardening, My Garden (Book) (1999) and Among Flowers: A Walk in the Himalaya (2005). Across both moments in her writing, I argue that Kincaid's gardens are experiments in experiencing the relation between power, contingency, and indeterminacy. Reading these works alongside critical discourses on the political economy of empire and a Black feminist ecocriticism, I situate the garden, as a figure and as a practice, as an outside within global capitalism. If the garden is an outside within capitalist economies, it is an outside complicit with capitalism. In the worlds of Kincaid's work, complicity is another word for humanness, and this article explores the ways that Kincaid offers a nonredemptive humanism. The Black speculation in her garden writing is more than a metaphor of investment and its returns. Kincaid's Black speculation moves through the Blackness internal to all living, and this nonutopian Black speculation is about living, less happily, through long eras of debt, despair, reaction, and retrenchment.

This paper offers an exposition of Fredric Jameson's The Political Unconscious (1981), arguing that its foundational imperative to always historicise constitutes a radical challenge to both formalist and teleological modes of reading. Drawing on Althusser's structural Marxism, Jameson dismantles the Base-Superstructure model's determinism and replaces it with a theory of mediation in which History is driven by the dynamic interplay of multiple levels simultaneously.

Este trabajo versa sobre el encuentro entre la teoría estética marxista y las prácticas cinematográficas comprometidas: una al calor de la otra. Con el objetivo de analizar sus relaciones, las ideas de Marx, Engels, Pléjanov, Lukács, Gramsci, Benjamin o Adorno serán puestas en relación con algunos filmes de Kuleshov, Vertov, Eisenstein, Dovjenko, Pudovkin, Visconti, Santis, Debord y Godard, anidando asimismo en el contexto soviético, italiano y francés.

Por VINÍCIUS DE OLIVEIRA PRUSCH* Considerações sobre o ensaio de Antonio Candido "O verdadeiro é, assim, o delírio báquico no qual não há membro que não esteja embriagado, e porque cada membro, na medida em que se separa, imediatamente se dissolve, é igualmente o repouso translúcido e simples" (Georg Wilhelm Friedrich Hegel, Fenomenologia do espírito). "A forma Utópica é, ela própria, uma reflexão representacional sobre a diferença radical" (Fredric Jameson, Arqueologias do futuro: o desejo chamado Utopia e outras ficções científicas). A canonização de um texto, seja ele literário ou crítico, traz consequências múltiplas. Por um lado, estuda-se mais aquele objeto, e, assim, tende-se a entendê-lo melhor. Por outro lado, contudo, vão sendo criadas também leituras viciadas, que prejudicam o entendimento de quem está chegando ao texto agora. O caso mais paradigmático talvez seja Hegel, cuja dialética é frequentemente simplificada com a fórmula "tese x antítese → síntese". A questão é que Hegel era avesso a fórmulas e a definições simplistas. Além disso, lendo sua Fenomenologia do Espírito, notamos que essa tríade quase não está lá -está muito mais em Fichte. Prefiro, pessoalmente, a definição de Adorno (2022) da dialética: trata-se de um pensamento organizado em contradições, mas que só deve se organizar assim porque a realidade também opera desse modo. É até mais simples que a simplificação. As complexidades surgem na prática, com cada leitura dialética. No caso do ensaio "Dialética da Malandragem", de Antonio Candido (1993), também temos tanto leituras profícuas quanto simplificações. No lado das primeiras, destaco os grandes ensaios de Roberto Schwarz (1987), de Edu Teruki Otsuka (2007) e de André Bueno (2008). Já no lado das simplificações, temos a tendência a se ler a malandragem como mero modo de ser do brasileiro, como o famoso "jeitinho", quando a coisa é bem mais interessante que isso. Um exemplo é a leitura de João Cesar de Castro Rocha (2006), corretamente criticada por Rodrigo Mendes (2025). Apesar das leituras profícuas, creio que ainda falta uma análise que posicione o ensaio de Antonio Candido, "o primeiro estudo literário propriamente dialético" (Schwarz, 1987, p. 129) do Brasil, no contexto da crítica dialética de maneira mais geral. Como Antonio Candido se insere na tradição de Hegel, Marx, Adorno? Esse é o movimento central deste ensaio. A partir dele, pretendo postular algumas coisas novas a respeito do movimento crítico construído pelo autor brasileiro. Eu já havia mencionado, com Theodor Adorno, que dialética é sobre contradições. A questão é que nem sempre essas A T e r r a é R e d o n d a a terra é redonda -22/06/2025 -2/5 © 2025 A Terra é Redonda. Todos direitos reservados. ISSN 3085-7120. contradições estão tão claras quanto "tal coisa se opõe a tal coisa". Já existe uma dialética basilar que sempre está lá se o gesto crítico for acertado, a dialética entre sujeito e objeto. Cabe ao sujeito perseguir o tanto que puder o movimento do objeto, ainda que nunca possa fisgá-lo por completo (sendo, aqui, mais adorniano do que hegeliano). No caso da crítica literária, existe também outra dialética basilar: aquela entre forma estética e forma social. Há, contudo, uma tradição interna à dialética na qual é exatamente "tal coisa se opõe a tal coisa" o que temos. O primeiro exemplo está no próprio Hegel (1997), mais especificamente na dialética do senhor e do escravo. Vejamos como ela funciona.

Despite increased global attention to gender disparities in STEM, the cultural and literary dimensions of African women's representation in science remain underexplored. This Perspectives article examines the representation of African women in science through a literary analysis of female protagonists in Nnedi Okorafor's Binti trilogy and Ngũgĩ wa Thiong'o's Wizard of the Crow. By exploring the intersection of science, culture, and gender, this research reveals how these texts challenge dominant narratives and stereotypes that marginalise women in STEM fields. Binti, a brilliant and courageous Himba girl navigating interstellar science, and Nyawĩra, a politically engaged scientist challenging authoritarianism, embody the complexities of African women's scientific engagement. Their portrayals serve as powerful counter-narratives that centre indigenous knowledge, cultural identity, and resistance. This study argues that such literary representations reclaim and amplify African women's voices in science, confronting epistemic exclusion and promoting a more inclusive scientific discourse. Ultimately, this research contributes to a deeper understanding of the intersections between science, gender, and African culture, and underscores the importance of literary voices in shaping future pathways for science and technology on the continent.

Die Beziehung zwischen Literatur und Gesellschaft hat eine lange wissenschaftliche Forschungstradition, die um 1800 mit den Werken Herders, Schillers und Louise Germaine de Staëls begannen: „Bereits um 1800 versuchen Autoren wie Johann Gottfried Herder, Friedrich Schiller und Anne Louise Germaine de Staël, Literatur in einem gesellschaftlichen Zusammenhang zu betrachten, […] wird ein Bedingungsverhältnis zwischen Gesellschaft und Literatur angenommen.“ Um Literatur als ein gesellschaftliches Phänomen systematisch und wissenschaftlich zu erfassen, spricht man erst im 20. Jahrhundert über die marxistische Literaturwissenschaftliche Theorie. Diese Theorie geht nicht um die biografische Psychologisierung, sondern um die Geschichtstheorie , Gesellschaftstheorie und Erkenntnistheorie. Nach marxistische Literaturtheorie und Ideologiekritik hat Gesellschaft zwei Teile: Basis und Überbau. Literatur ist keine bloße Spieglung, aber ein Teil des Überbaus. Literatur im marxistischen Sinne nimmt die materielle gesellschaftliche Wirklichkeit und verarbeitet sie ästhetisch, um erfahrbar zu machen. Auch in der Ideologiekritik geht es um eine enge Beziehung zwischen Kunstprodukten und gesellschaftliche Machtverhältnisse und zentral in diesem Zusammenhang ist die Kritische Theorie als Bezugstheorie. Kritische Theorie basiert auf marxistische Theorie, jedoch setzt sie sich eigene Schwerpunkte, darunter seht hauptsächlich die Kritik am traditionellen Vernunftskonzept. Max Horkheimer und Theodor W. Adorno, Hauptvertreter der ersten Generation der Kritischen Theorie der Frankfurter Schule, verfassten das berühmte Werk Dialektik der Aufklärung (1947), wo Sie die moderne Subjekte, Gesellschaft und Massenmedien analysierten und entwickelten Konzepte wie instrumentale Vernunft und Kulturindustrie und zeigt Aufklärung als eine Mythologie . In dieser dieser vorliegende Arbeit beschäftige ich mich überwiegend mit Adornos Literaturwissenschaftliche Konzepte, die vom Marxismus beeinflusst, wie Verdinglichung, gesellschaftliche Totalität (übergenommen von Marx und Lukács) und sein Identitätsdenken, insbesondere Nichtidentität.

This paper presents a cross-cultural comparison between Bertolt Brecht's Epic Theatre and the Gujarati folk performance tradition Bhavai, with the aim of exploring how both forms utilize theatrical techniques to promote critical consciousness and challenge socio-political norms. While Epic Theatre arose in 20thcentury Germany within a Marxist ideological context, Bhavai emerged in 14th-century India as a form of folk resistance rooted in caste critique and communal satire. Despite these divergent origins, both traditions make use of episodic narratives, direct audience address, musical interludes, and non-naturalistic performance styles. Using a "cross-cultural functionalist lens," this paper argues that Bhavai can be understood as a structurally and ideologically parallel form of Epic Theatre. Drawing on textual examples and verified performances, this study contributes a decolonial perspective to global theatre studies, suggesting new frameworks for analyzing resistance in performance traditions beyond the Euro-American canon.

This paper explores allegorical and unnatural elements in China Miéville’s novel Perdido Street Station, starting with a parallel between the fictional city New Crobuzon and London.  Fantasy literature examines human nature by means of myth and archetype and science fiction exploits the same aspects, although emphasizing technological possibilities. Horror is said to explore human nature plunging into our deepest fears. We encounter the three elements profusely in the narrative, making it a dense fictional exercise.  In postclassical narratology, unnatural narratives are understood as mimetical exercises questioning verisimilitude in the level of the story and of discourse.  When considered unnatural, narratives have a broader scope, sometimes even transcending this mimetical limitation.  Fantastical and marvelous elements generally strike us as bizarre and question the standards that govern the real world around us.  Although Fantasy worlds do also mirror the world we live in, they...

This paper offers a comprehensive examination of *The Adventures of Huckleberry Finn* within the broader context of Mark Twain’s life, literary career, and the cultural forces shaping nineteenth‑century America. Beginning with a narrative overview of the novel, it highlights how Twain uses vernacular language, river imagery, and episodic structure to critique slavery, religion, Southern aristocracy, and the mythology of American “civilization.” The analysis situates the novel’s publication within Twain’s transition from humorist to major literary figure, drawing connections to *Life on the Mississippi* and his earlier steamboat career. The paper explores the symbolic role of vessels—from skiff to raft to steamboat—as markers of autonomy, social pressure, and industrial modernity. It also investigates Twain’s ambivalent relationship with minstrelsy, showing how he both inherited and subverted racial caricature through the character of Jim. A major section traces the novel’s evolving critical reception, including early white objections, Black American debates from Ellison to Morrison, and modern reinterpretations such as Percival Everett’s *James*. The paper further analyzes the “Evasion” chapters as Twain’s final satire of romanticism and the “Sir Walter Scott disease,” linking the novel to the picaresque tradition of *Don Quixote*, *The Odyssey*, and *Monsignor Quixote*. Ultimately, the study argues that Huck’s decision to “light out for the Territory” represents a rejection of both Southern chivalric fantasy and institutional morality, positioning the novel as a foundational critique of American identity and its unresolved moral contradictions.

La primera parte de esta investigación histórica-académica aborda con rigor el origen, la evolución y la preponderancia del término «Masis / Masís / Massis», explorando sus raíces etimológicas, conexiones culturales y resonancias simbólicas en contextos tan diversos como Armenia, la diáspora en Norteamérica y Europa, así como su progresivo establecimiento en la América Latina.

En ella se explora a profundidad dicho término en sus tres variantes, desentrañando su origen y evolución a través de diversas culturas y geografías.

Con la presente sección inicial, por ende, se establece un marco para entender su significado profundo y su papel como un vínculo entre identidades históricas y memorias compartidas, sentando así las bases para comprender su legado como una huella viva de la genealogía y la historia compartida por generaciones.

Categorías:
Genealogía, Apellido Masis, Apellido Masís, Apellido Massis, Estudios onomásticos, Evolución de apellidos, Antroponimia, Historia familiar, Diáspora armenia, Migración Armenia, Historia de Nicaragua, Historia de Costa Rica, Herencia cultural, Identidad cultural, Cristianismo oriental, Monte Ararat, Símbolos armenios, Herencia religiosa, Tradición familiar, , Orígenes lingüísticos, Variaciones ortográficas, Filología histórica, Toponimia, Lingüística armenia, Archivo histórico, Fuentes primarias, Historia oral, Documentación patrimonial, Metodología genealógica.

Crítica filosófica rigurosa del mito contemporáneo de la "revolución
tecnológica". Demuestra que la tecnología es mediación, no sujeto
histórico.

Argumentos principales:

1. La técnica no revoluciona; son los seres humanos en condiciones
  históricas determinadas quienes lo hacen
2. El discurso "tecno-revolucionario" es un ideologema que evita
  responsabilidad política
3. Ejemplos históricos (máquina de vapor, computador) muestran que
  cambios técnicos son RESULTADO de decisiones políticas, no su causa
4. Una verdadera revolución requiere: poder popular organizado, proyecto
  alternativo, conflicto por el control del Estado
5. La tecnología puede ser mediación para una alternativa, pero nunca
  sujeto revolucionario

Desarrolla perspectiva materialista desde Gustavo Bueno contra
determinismo tecnológico.

Palabras clave: tecnología, revolución, materialismo, filosofía,
epistemología, historia, cambio social

Nazım Hikmet, one of the most prominent figures in modern Turkish poetry, occupies a distinguished position not only within Turkish literature but also across the broader Turkic world. His recognition among Turkic peoples, particularly in Yakutia (the Sakha Republic) in northeastern Siberia, has been significantly shaped by the translation of his poetry into Russian, his participation in literary gatherings, and his personal interactions with intellectuals from various Turkic nations. Within the corpus of Yakut literature, his legacy is preserved through a variety of mediums: memoirs, newspaper articles, Russian translations of his poems, poetic dedications, and original works composed under his influence. This study aims to examine the literary and cultural memory of Nazım Hikmet as reflected in Yakut literature, with a specific focus on personal recollections and dialogues that illuminate both the intellectual reception of his work and the transnational resonance of his ideas within the Turkic world.

This paper examines the organization of labour and the provision of goods in The Lord of the Rings through a Marxist lens, situating Tolkien’s medievalist world within debates on work, alienation, and social ethics. While Middle-earth appears to exhibit clear divisions of labour—farmers, smiths, archivists—the boundaries are fluid, reflecting medieval social practices of mixed household labour, seasonal shifts, and reciprocal obligations. Rangers who hunt and heal, hobbits who become civic leaders, and cross-cultural exchanges of craft evoke a pre-capitalist economy grounded in versatility and gift relations rather than market logic. Wartime reallocation further dramatizes the ethical and political dimensions of work: who commands, who consents, and who bears risk. Examples such as Éowyn’s protest against gendered confinement and the Scouring of the Shire underscore Tolkien’s critique of coercive systems and his valorization of labour as a moral act embedded in community and ecology. Ultimately, the text argues that in Middle-earth, work is never merely functional; it is a site where justice, freedom, and care—or their negation—are enacted.

William Wordsworth, a seminal figure of the Romantic movement, articulates a profound connection between humanity and the natural world in his poetry. This research explores Wordsworth's ecological perspective, highlighting themes of interconnectedness, the restorative power of nature, and critiques of industrialization. Through analyses of key poems, including "I Wandered Lonely as a Cloud" and "Tintern Abbey," this paper illustrates how Wordsworth's vision encourages readers to embrace and respect nature as a vital component of human existence. Ultimately, Wordsworth's work serves as a timeless reminder of the importance of nurturing our relationship with the natural world.

This study delves into the nuanced dimensions of post-colonial identity within Daniel Defoe's Robinson Crusoe and William Shakespeare's The Tempest. Navigating the turbulent seas of colonialism and imperialism, the narratives unravel the human repercussions of external dominance and economic exploitation of indigenous communities. Drawing on Edward Said's Orientalism (1978), the research adeptly employs a balanced application of colonial and postcolonial theories to analyze the transformation of the protagonists, Robinson and Prospero, from isolation to mastery after saving their respective servants. The exploration emphasizes the depiction of colonizers appropriating native lands, altering traditions, and shaping intricate dynamics between master and servant, challenging prevailing authorial perspectives on race, gender, and ethnicity. Key findings uncover issues of subjugation, religious conversion, power abuse, dominance, and linguistic hegemony within the context of power politics. This research contributes to a nuanced understanding of the interplay between colonizer and colonized, enriching literary discourse and fostering a comprehensive understanding of postcolonial identity in these literary masterpieces.

This paper offers a critique that emerged from an investigation of the relationship between the structure of the narrative in Animal Farm (1945) and the bourgeois values it defends. The study attempts to reveal the "social ground" from which Orwell's hypothetical "Animal Farm" takes off. Through a beguilingly simple allegory based on fables and bestiaries, the novella Animal Farm seeks to establish projections of what is a feasible state versus an unviable state. This requires critical disambiguation because the allegory in Animal Farm is replete with irony and sustained satire, making the study novel. A closer look at allegorical operations in Animal Farm referenced through a rich context may be useful in understanding the ramifications of the choice of genre and presentation of the narrative drawn from a historical socio-political situation.