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Animals enjoyed an active afterlife in late‐nineteenth‐century pro‐animal texts in Germany. Drawing on a number of primary texts and recent scholarship on the anti‐vivisection movement, this article argues that remembering, mourning, and haunting by animals is part of a gendered discourse on animal rights that is associated in particular with sentiment and with maternity. This is illustrated with reference to Marie Espérance von Schwartz's Gemma, oder Tugend und Laster (1877), a sentimental anti‐vivisection novella in which deceased animals and women return to punish their abusers or shore up the resistant stance of the living. Viewing Schwartz's fictional novella in the context of non‐fictional pro‐animal works, including Ernst Grysanowski's Die Vivisection, ihr wissenschaftlicher Werth und ihre ethische Berechtigung (1877) and Ignaz Bregenzer's Thier‐Ethik: Darstellung der sittlichen und rechtlichen Beziehungen zwischen Mensch und Thier (1894), allows me, by means of contrast, to highlight its gendered dimension.

978-1988286-05-1 This wonderful assortment of short stories from acclaimed YA author, Don Aker, is sure to engage younger readers, even though the book was originally targeted to an adult audience. Three story lines are adeptly woven together to give you the view from various positions in the refugee process in Canada: Mahindan and his six-year-old son, Sellian are Tamil refugees from Sri Lanka who are escaping to what they believe will be a welcoming Canada from a deadly civil war; Priya, a second generation Sri Lankan-Canadian articling student representing Mahindan in the legal process of his refugee application; and Grace, a third generation Japanese-Canadian civil servant who is newly appointed as an adjudicator to the Immigration and Refugee Board who hears, amongst others, Mahindan's case for refugee status. Disembodied voices are the individual tellers of the tale: a woman who cannot let go of her three daughters, a miser who floats horizontally, a young gay man who committed suicide after rejection by his lover, an elderly reverend, a middle-aged printer killed in an accident just prior to consummating his marriage to his wife. The collection ends aptly with \"Size Matters: A Commencement Address\" which though never actually or publicly delivered, delivers wonderful advice to young women and young men, those same who are the future of our country and planet.

A memoir that focuses on another person must try to understand and explain the connection between the author and the subject. The autobiographical emphasis becomes difficult when the author portrays a parent who is a literary figure. Such memoirs show the continuing struggle between a desire to venerate their famous parents and to reveal their failings, to blame them for ruining their lives yet establish their independent values and separate identity. In contrast to the polite, hagiographic convention of Victorian memoirs, literary parricides justify their sensational assaults on their parents in the interest of truth. Most extract the autobiographical elements from the fiction, but do not illuminate their parents' work. All express the struggle for power that the children win after their parents' deaths. Instead of keeping the flame of memory burning, these memoirs try to extinguish it and add a new terror to death.

Opus Zero tells the story of a destructive composer, Paul, played by Willem Dafoe, who's looking for the meaning of isolation and silence after the loss of his dad.

[...]once we turn our attention to the distinction itself, our manner of cutting up reality becomes problematized as it would make sense to think that the act of distinguishing is one which occurs through culture, through a subjective act of theory. [...]in the correlationist paradigm of distinction, one can indicate the unmarked territory of distinction but only through a process of drawing the limits of the subject; the subject draws its own limits at the point of correlation between itself and its other, the object. The life of Things, of Nature, cannot be captured in finite, singular soul-like essences like the correlationist or legal paradigms would identify but exceeds such finitude. [...]life's resistance and undermining of Law is not death but is rather an excess of life: a daemonic life that always eludes our grasp and is dangerous to us, so long as we comprehend reality within fixed essences. [...]it is these relations that produce thought and perception in the first place, as Shaviro explains with regard to Deleuze's assertion that \"something in the world forces us to think\": \"The object provokes thought without letting itself be thought; we are forced to think precisely because we have come across something that our thought cannot capture or identify, much less recognize\" (2014, 154-5). [...]though we perceive Kornfeld's becoming-tree as a suicide here, life nonetheless remains abundant, exceeding the boundaries that knowledge would inscribe, continuing in its dynamic play of forces.

This essay explores the literary connection between Franz Kafka and Philip Roth. It is focused on Kafka's 1919 letter to his father, which is understood as the foundation for Roth's two memoirs,The Facts(1988) andPatrimony(1991). Kafka's letter charts the enormous influence of parents upon the imagination of their children, establishing the writer's task as liberation from parents and in his case as a son's liberation from his father: such liberation then becomes the freedom to write about the father, casting the son's liberty into doubt. Trading in American rather than European details,The FactsandPatrimonyexplore exactly this psycho-literary terrain.

Usando la noción de hauntology, expuesta por Jacques Derrida en su libro Specters of Marx, este trabajo analiza el film Biutiful (2010), dirigido por Alejandro González Iñárritu. González Iñárritu explora los \"espectros\" de la sociedad española mediante un diálogo con el cine de terror, en el que se elabora un vínculo entre la explotación y el sufrimiento de los inmigrantes actuales con el destino de los exiliados de la Guerra Civil. Asimismo, sugiere que nuestra relación con los marginados es realmente filial: tenemos que vivir y convivir con los \"espectros\" como miembros de una familia nacional. Al insertar la referencia al desenterramiento de las víctimas de la Guerra Civil, González Iñárritu sugiere que si la sociedad española quiere reconocer las atrocidades del pasado, no puede ignorar la situación de los inmigrantes actuales.

On the night of September 22, 1912, Franz Kafka wrote his story \"The Judgment,\" which came out of him \"like a regular birth.\" This act of creation struck him as an unmistakable sign of his literary destiny. Thereafter, the search of many of his characters for the Law, for a home, for artistic fulfillment can be understood as a figure for Kafka's own search to reproduce the ecstasy of a single night. InLambent Traces: Franz Kafka, the preeminent American critic and translator of Franz Kafka traces the implications of Kafka's literary breakthrough. Kafka's first concern was not his responsibility to his culture but to his fate as literature, which he pursued by exploring \"the limits of the human.\" At the same time, he kept his transcendental longings sober by noting--with incomparable irony--their virtual impossibility. At times Kafka's passion for personal transcendence as a writer entered into a torturous and witty conflict with his desire for another sort of transcendence, one driven by a modern Gnosticism. This struggle prompted him continually to scrutinize different kinds of mediation, such as confessional writing, the dream, the media, the idea of marriage, skepticism, asceticism, and the imitation of death.Lambent Traces: Franz Kafkaconcludes with a reconstruction and critique of the approaches to Kafka by such major critics as Adorno, Gilman, and Deleuze and Guattari..