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The analysis at hand, of Graham Swift's novel Here We Are, consists of three main parts, which display a progressively increased degree of complexity. We are looking at the language of the entertainment business in post-war Brighton unpretentious summer shows. The first part focuses on linguistic terms and phrases that describe this business, i.e. the actual place and actors, so the level of interpretation is mainly the basic, denotative one. In the second part, we look at how the entertainer is described, drawing the conclusion that one of the main features assigned to him is versatility and a multifaceted personality. This versatility is further taken in the spotlight in the third part as the common denominator of the linguistic expression in the novel, and we look at the examples provided in the book and the subtle meanings that they convey. In the Conclusions, we pair this ambivalent linguistic manner of expression with the overall interpretations of the characters and situations, revealing the fact that they are mutually illustrative of each other. The approach is linguistics combined with cultural studies.

The paper analyzes the way in which Stacey Halls' novel, Mrs England, provides an instance of a well-woven mystery. This is achieved by reviewing the sources of enigma in the story, starting with the most controversial of them, namely the protagonist giving the title of the book. Then, the other characters are put under a lens (and dedicated separate sections), through the investigation of which we show how suspense and mystery are built. The conclusions reveal the fact that the secrecy constructed around them is the main mechanism to accomplish a suspense plot, through ambiguity and open possibilities, but that there are also other details that contribute to the build-up and which play a secondary role, completing the feeling nevertheless. The approach is cultural and identity studies.

The paper investigates the character of the red-haired woman in Orhan Pamuk's novel bearing this title, as well as the adjacent theme ofpatricide and filicide that the male character Cem, who narrates most ofi the story, is obsessed with. We startfrom the basic, most evident interpretations of the woman's symbolism, to then look into her as acquiring allegorical value and expanding her personality to reach not only archetypal value, but also to come to represent a complex world view. Given the dimensions that she embodies, the lens can be considered a feminist one, along with that of identity, cultural studies, and psychoanalysis. After the introduction, we look at the red-haired woman in the hypostasis of actress Gillcihan, depicting first the general impression that she inspires and the obvious traits at primay levels ofi interpretation. Then, in section three, we reveal her complexity and the depth ofi the hermeneutic surrounding her, analysing her place in the economy ofi the dichotomies presented in the stay which are mainly related to the opposition between the old and the new. Also, this part ofi the paper brings arguments fior the way in which she occupies the center, rather than patriarchal authority relying on the father.

The paper looks at the 2022 film production The Menu, which is a horror comedy that manages to be convincing - we shall argue - because of the smart manner in which language is used. We start from a justification for this idea, finding it in the first scenes. Still in the introductory part, we establish the roles of the main character, Margot, as well as some of the features of her companion, Tyler, and state the functions played by language that shall be followed throughout the whole analysis in the way it is used. The body of the analysis focuses on the terminology specific to the field of food and cooking, looking at the people involved or staff, procedures, insights on the cuisine served and the show that the experience turns out to be, and, last but not least, the descriptions of the courses and the hints that they provide on the situation. The final part of the investigation bearing on the dishes is not only descriptive, assessing the lexis, but also looking into the intricacies of language use, namely its psychological effects and subtle impact, the way in which it blends horror and humor, boosts tension gradually, and creates reality at the threshold of competing outlooks on fine dining which see it as either deserving art or arrogant nonsense. The approach is a blend of linguistics and cultural studies, with a focus on the collaboration between language and psychology, paying attention to how the former creates the dynamic of the other.

We set out to analyze the interferences of the setting of the story and geography with the main character's feelings at the dusk of his life, as he is haunted in his old age by a sense of futility and depression. By geography we mean, on the one hand, the actual relief, atmospheric phenomena and surrounding natural environment and elements, as well as, on the other hand, the inhabited space, familiar objects and even beings (as in his pets, a cat and dog), which tend to mirror his inner life, thoughts and feelings in perfect conjunction. The main characternarrator uses these to convey messages related to how he is and his situation. When he is lost for words, he still seems to have a way of expressing himself with landscape imagery (in the broad sense of the concept of a \"landscape\", as pointed out above), and in this specific manner of expression he is never lost for either words or metaphors - on the contrary, he masters transmission particularly well.

The paper analyzes the introductory part of the novel The Ship of Brides by Jojo Moyes, as, given its synthetic but inclusive nature, it provides relevant intimations in what regards issues pertaining to cultural profiling and identities, focusing on - but not reduced to - the Indian and British ones. Other interesting matters come to the fore, besides cultural traits, and the whole information is gathered around two cores on which the two main sections making up the body of the paper are built. In the first, we analyze various tourism trends and types, noticing the way in which the text tends to place most of them in oppositions and distinctions - mass versus individual or responsible tourism, real and surrogate tourism experiences, reality and construct, heritage versus poverty or black tourism, eurocentrism and exotic cultures, financially deprived versus consumerist countries. The following section focuses initially on cultural characteristics and stereotypes regarding age (the elderly and youth), social status, class society, dress codes for women and the perception of gender difference, then passes on to throwing a glance at the surrounding physical, spatial realities: the slum neighborhood, the industrialized areas, poverty, hygiene issues and smells, the social arena. The conclusions draw on the complexity of the aspects tackled in the novel prologue.

This analysis starts from an instance of relaxation tourism in the Dominican Republic, interpreting some facts and realities that I had immediate, direct contact with about this country and bearing on Caribbean leisure culture at large. In this, I am resorting to notions from intercultural theory, both from what are considered to be traditional insights, such as Florence Kluckhohn and Geert Hofstede's, and to more modern ones from Fons Trompenaars. The study takes into account aspects regarding the weather and climate, accommodation units, eating habits and activities, i.e. Edgar Schein's artifacts, interpreted through an intercultural criticism lens. Hence, the Dominican culture appears to be a \"being\" and affective one, prone to indulgence, having a low uncertainty avoidance index, a relaxed attitude to time, short term orientation and an external locus of control. The coupling of these features relies on examples and illustrations. The conclusions sum up the Dominican and Caribbean profile.

This paper begins with a presentation of fictional facts and a few elements of dystopia, namely its geography, mechanism and vocabulary. From these unpretentious, even simplistic rudiments, we demonstrate how a complex meaning can be weaved, through mirrors and composite symbols. The second part of the analysis focuses on these, examining their functions and role: Picasso's painting Guernica, the prison, the coffin-like chambers, drowning, the characters, and books and reading. The culmination of this scrutiny is the concept of \"more\", revealed as a skeleton key to the novel. We show it to bear, as a symbol, various facets, impacting the individual and general planes, the movements of giving and receiving as basic interaction coping strategies in life (with their multiple aspects), ending up as a nutshell mirror for the human existence itself. The conclusions sum up the results of the exploration of More than This, stating again its complexity despite its unsophisticated plot.

The interest in this paper is to analyze the Romanian tourism websites of three famous travel agencies from the point of view of the user interface and the website presentation. We do not enter the technical area of functionality and actual programming, which would require ample and applied, domain-specific information for a pertinent insight, sticking, instead, to what can be detached from the interaction of the regular visitor, who is not knowledgeable in programming or design as a specialist, and from his/her basic navigation experience practically. To this purpose, we have chosen to draw a comparison between the websites of the Romanian tourism agencies Christian Tour, Happy Tour and Eximtur, which are analyzed from the perspective announced above, and as they appear in the autumn of 2023, more exactly the end of the month of October, so not around any special holidays, events or sales opportunities in our country. The purpose of the analysis is to indicate the way the websites present appealing elements for the user from an emotional perspective (in Donald Norman's terms), and to rank them from this angle, as well as from the point of view of user optimization at a first glance.

This study is trying to metaphorically get the pulse of a segment of senior students who are involved in either a remote or hybrid work scenario, as far as, first, the perception of the two employment models among members of the young generation who are also computer-literate, then, to get a feel of which model they would choose for academic education, and, last but not least, to see what scenario is considered to be the best when one tries to blend the roles of a student and an employee simultaneously. For this, a set of seven questions has been drawn up, both choice and open-ended. The paper has been structured into three middle sections, besides the Introduction and the Conclusions, which focus on: fears and their remedies related to remote and hybrid work; the combination of hybrid work and hybrid education; the prospects for hybridity in both education and one's professional life. Twenty third-year, computer science students have been solicited to provide answers, on the logic that they have the understanding of all the \"experimental\" times that we have gone through: of pandemic online exclusiveness, being back in face-to-face encounters, and then plunged into a hybrid model.