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The paper examines the concept of imagination from a creative perspective, focusing on a central question concerning the author's level of control over the imaginative nature of his work. Using a comparative textual analysis approach, the discussion looks at specific writings to find similarities and differences in order to clarify the complex relationship between literature and imagination. The paper is organized into an introduction, two analytical subsections titled \"Imagination\" and \"Analytical Imagination,\" and a conclusion. The introduction included a brief literature review as well as the methodological approach, which guided the main research questions about the relationships between literature and imagination and how those connections affect the interpretation process. It concludes with a reflection on the evolution of the Romantic notion of the poetic imagination in modern times (as envisioned by Pound and Beckett) and establishes a link between Aristotle's Mimesis and the concept of analytical imagination.

Metropolis is a science-fiction and silent film written by Thea von Harbou and directed by Fritz Lang. Originally premiered in 1927, the film footage remained missing for many years until its discovery and reassembly in Buenos Aires, Argentina in 2008. The restored version portrays the tumultuous fate of Freder, the son of the all-powerful businessman Fredersen, within a highly industrialized city. The film mainly deals, in a dystopian manner, with the devastating mechanisms of highly utilitarian societies and sheds light on the challenges posed by a largely rationalized, fascist regime in a pre-World War II context. Fritz Lang's Metropolis delves into a ''semiotics of 'Loss'' (Grayson/Scheurer 2021: 43) featuring transhumanist aspects, which are constitutive parts of an illusionary teleology of total control over human nature. All these narrative elements articulate simultaneously the critical discourse of the Austrian film director. They vividly highlight totalitarian ideologies in a visionary and allegorical manner, exposing their control and power mechanisms (cf. Foucault 1966/2005: 414), which constitute the main subject of the present article. The aim is to deconstruct utilitarian myths as ideology (cf. Rosen 2003: 42) and discourse of power as well.

In comparison to Western science fiction, there is a lack in the publication of science fiction novels in Arabic. The absence of Arab women characters leads Nora Al Noman, an author from the United Arab Emirates, to write her novel Ajwan. The writer shows the significant role of this genre in dealing with issues related to Arab women. This article aims to examine the characterization of the major female lead, Ajwan, in an alternative world and how she represents the feminist ideas. It focuses on the reaction of the protagonist to the concept of gender in a patriarchal society. Feminism is used as a theoretical framework to analyze the subversion of gender roles. In a post-apocalyptic world, Ajwan, who belongs to the Havaiki, experiences otherness in Al Zafir, However, she challenges marginalization and misogynist thought. Consequently, the major female lead becomes the empowered woman in her Arab community.

أحدثت التغيرات التكنولوجية المتسارعة تحولات جذرية على مستوى الممارسات القانونية والإجراءات القضائية، وهذا من خلال تفاعل القانون مع تقنيات الخيال العلمي في عصر تكنولوجيا الذكاء الاصطناعي وتأثير ذلك على النظام القضائي عامة، لذا سيتم الكشف في هذا البحث عن التوجه نحو القضاء الذكي في إطار التجارب والممارسات الحديثة التي اعتمدت توظيف هذه التقنيات الذكية لتعزيز كفاءة وفعالية العمل القضائي والقانوني، بما في ذلك ما ينتج عليه من إيجابيات وسلبيات عن طريق منهج وصفي تحليلي ومقارن، يرتكز على ضرورة فهم التأثيرات المتبادلة بين التقنية والقانون وكيفية توظيفها لتحسين الممارسات القضائية، وكذا استشراف واقع العمل القضائي والقانوني في ظل التطور التكنولوجي السريع، وبالتالي اقتراح سبلاً لاستفادة المنظومة القضائية من تقنيات الخيال العلمي بما يخدم العدالة والمصلحة العامة.

Le présent article a pour objectif d'analyser la manière dont Assia Djebar, à travers l'imagination créatrice, parvient à rétablir la féminité dans le discours sacré. Nous tenterons donc de démontrer, tout au long de notre étude, comment l'auteure de «Loin de Médine» pénètre au coeur de l'histoire officielle pour ressusciter les femmes de l'entourage du Prophète, et comment, grâce à la fiction, elle parvient à leur redonner la place qu'elles méritent en évoquant leurs vécus, leurs rêves, leurs fantasmes, leurs révoltes et leurs cris.

Samuel Delany's Stars in my Pocket Like Grains of Sand (1984) challenges questionable conceptions of knowledge and their limits/limitations. Theoretical study of this text has focused on considering issues of race and identity in relation to the science-fiction genre. This paper explores Delany's text from a surveillance studies perspective to analyze how surveillance, as a technological tool of power, functions in it. According to Foucault the disciplinary bent of society limits freedom. This is why tracing surveillance techniques in relation to knowledge as well as subjects/objects on Velm (an SF world in the novel) uncovers the limitations of seemingly liberal societies, who are disciplinary societies that put their power into practice through surveillance.

This paper uses a combination of corpus-based and qualitative approaches to investigate the 'framing' of criminals in fiction on serial killers, particularly in the works of the top-selling novelist Thomas Harris. These works feature detectives/psychologists and villains who tend to be psychopathic men involved in criminal actions that range from kidnapping to murder. Framing can be used to understand and explore how an entity is constructed, communicated and shaped. It can be defined as 'schemata' or repertoires of organized patterns of thinking which can be triggered by the framing devices presented in the text (Kitzinger, 2007). Using WordSmith5, the frequency of words related to 'killers' and 'murder' and the concordance lines of the names of each serial killer used as node words, are all extracted and examined. Concordance lines, which present 'the analyst with instances of a word or cluster in its immediate co-text' (Baker et al., 2008, p. 279), are examined qualitatively to identify linguistic patterns using the critical stylistic tools proposed by Jeffries (2010a) - including, for example, naming and describing, equating and contrasting, assuming and implying, prioritizing, representing actions/ events/ states, modality choices and metaphor. This paper, to a large extent, shows that the suggested corpus-assisted critical stylistic approach provides a comprehensive model for the study of the serial killers in the selected novels, and possibly, and more generally, for the study of characters in fiction. Indeed, the main achievement of this approach which involves a synergy of quantitative and qualitative methods is the provision of a more comprehensive and systematic analysis of large amounts of data.