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Recent scholarship on literary minimalism reflects a renewed interest in a mode of writing which many (prematurely) declared as bygone. Although such a literary legacy began, in earnest, with the short stories of Hemingway, it is mostly tied to the 1980s short fiction. Its current resurgence in some contemporary works indicates a yet unexplored diversity and expansiveness underlying the ostensible terseness and incompleteness of minimalist texts. Hence, the present essay revisits a century-long tradition in order to explore its tides and ebbs. Particularly, it highlights how minimalist tendencies areadapted in different contexts (historical, social and cultural) for different aesthetic purposes. Veracity, trueness and simplicity are the enduring principles through which minimalism's changing face remains recognizable.

Interpretation is a foundational aspect of human cognition as it entails the act of (re)assigning meaning to utterances, objects, events, etc. In the field of literature, theories of criticism have devoted a great deal of attention and effort to explore the most efficient ways of approaching texts and extracting their meanings. Despite the plethora of scholarly publications and academic traning, offering a wealth of knowledge, undergraduate students oftrn seem in need of further broadening their interpretive capacities. Hence, it remains necessary to readdress the issue of variety and change in terms of the perspectives and methods employed in analysis and critique. By tracing the main turning points in the conceptualisation of literary interpretation, from the medieval age to the contemporary era, the present paper attempts to provide a simplified account of its evolution while emphasizing its dynamic nature. Several alterations, in the view and practice of interpretation, occured as a result of changing intellectual and sociopolitical circumstances. Understanding that each of the mutations re-define and re-appropriate the position of the interpreter vis-à-vis the literary text is an important step in the students' development of their own interpretive horizons.

Contrary to common understanding, the zombie narrative is not a mere cultural hit that seeks to amass financial gains from a (horrifyingly) engaging form of amusement. In literature, as in film and videogame, the genre has proven its depth, complexity and even relevance in the face of ongoing global events. The present paper examines 28 Days Later (2002) and 28 Weeks Later (2007) as outbreak narratives which expose underlying psychological mechanisms. Relying on Steven Taylor's recapitulative work on the psychology of pandemics (2019), in particular, the analyses examine the striking parallels between the responses that are represented in the films and the traits and reactions that are associated with adaptive or maladaptive practices. The results further contribute to a body of quantitative/qualitative research which suggests a correlation between morbid genres and coping skills during difficult times.