In this article, by focusing on the two main protagonists, Mitya Karamazov and Pavel Smerdyakov, we would like to analyze the murder of Fyodor Karamazov, which is the crucial event in the novel The Brothers Karamazov. We have conducted analysis of these two characters from the perspective of literature studies, psychology and psychiatry. Although we agree with Freud’s opinion (1) that it is not important who killed the father, but who wanted to kill him, we hope that our findings will allow us to formulate conclusions that will be helpful in new interpretations of this masterpiece.

Whereas bisexuality, as it existed in modernity, has been described as a ‘floating signifier', one that was problematically conflated with gender and intersex bodies, the articulation of bisexuality is now experiencing a discursive resurgence in spaces and platforms online. Through a deliberately disparate comparison between Virginia Woolf’s modernist writing and the discussions of bisexuality on the video-sharing social networking service TikTok, this essay presents a reflective reassessment of how far bisexual representation in the popular imagination has progressed and by extension, evaluate extant limitations. To realize these ambitions, I compare the reception of sexology (the new science of sexuality) in ‘high’ modernist literature with a post-modern demographic whose bisexuality is articulated in the 2020s online via TikTok’s towards what I would demarcate as a post-queer theory user base. This essay is not intended as an overview of the advancements made in psychoanalytic institutions about bisexuality nor does it set out to comment on the refinement of bisexuality’s aestheticization through time. Instead, it uses these two temporally specific moments in the cultural zeitgeist to compare and contrast how differently two different demographics articulate bisexuality, both as a written mode in modernism and as a visual apparatus online. This is less a critique of bi-erasure, but an interrogation of why and how bisexual representation, as an aestheticized subjectivity that compromises romantic, spiritual, and erotic desires for bodies of all genders, continues to be problematically restrictive.

Social character is the key for someone to interact with the surrounding community. Interaction and socialization need to be introduced early by parents. If the results turned in reverse, then there must be other ways to be learned and practiced in family life. This study aims to cultivate social characters to children in the Juvenile Rehabilitation Institution through poetry learning. Changes continue to occur in handling and coaching juvenile delinquency in Indonesia. Regulations for the management of coaching continue to be carried out from Law No. 3 of 1997 concerning the Law on Juvenile Justice, then it was changed to Act No. 11 of 2012 concerning the System of Juvenile Criminal Justice. Characteristics of this relatively new law contain the main mechanisms of protecting children, who have problems with the law and following the Convention on the Rights of the Child. Education in the Juvenile Rehabilitation Institution has been carried out with all the limitations and can bring changes in the correctional behavior of children to be better that makes education restore the child's identity. Education held at this institution is expected to be able to achieve the ideals of children to be more beneficial after completing a kind of inclusive education. By applying a pragmatic approach, the study expects that there will be a change in children since they can learn the contents of poems, and at the same time, they are able to express their feeling by writing poems as well. From the process of learning, social characters in children such as honesty, openness, tolerance, cooperation, will be growing step by step.

The research was about Hélène Junot, the major character in the SINS. Hélène had a very dreadful life when she had to witness Maman, who was expecting a baby, tortured by the Nazis. Her older sister, Catharine was raped and her baby sister, Marie was burnt on her belly. The feminist psychological approach was applied in the research to find about Hélène's background for searching the two Nazis who had tortured Maman, Catharine, and Marie. The result of the research showed that after Hélène met with Schmidt, she became helpless since Schmidt was no longer a whole man. His two legs and genitals were gone after he stepped on a mine in Russia. She made a deal with Karl von Eiderfeld, the albino, by making him one of her stockholders in Hélène Junot International Inc., unless von Eiderfeld preferred to have his document as a war criminal handed to the Israelis authorities. Hélène had a natural talent for fashion and dreamed that one day she would be a fashion magazine publisher. She became Madame Dupré's assistant. It was Madame Dupré who had encouraged her to go to Paris to start her carrier. During an art exhibition, she met Odile Joly, a prominent designer who was attracted to her beauty and manners. When working as Madame Dupré's seamstress, Hélène met Hubert de Legér who had fallen in love with her at first sight and became obsessed by her beauty. Later, Hélène became Comte de Legér’s mistress (Hubert’s father) and was saving money by selling all the jewelry that the Comte had given her to start looking for the two Nazis and fulfilling her childhood dream. Hélène was later married to Stanislaw Kowalsky, a distinguished concert pianist, but the marriage only lasts a few months. Hubert de Legér had murdered Stanislaw out of jealousy and hatred. From the money she got from Comte de Legér and Stanislaw, Hélène was able to trace the two Nazis and established Hélène Junot International Inc. She then married Siegfred Bavier, but again it did not last long. Siegfried died in his office. Despite her success in finding the two Nazis, Hélène was not content. Her life became complete and whole after she met Nigel Somerset, who later married her.

The research is seeking for the elements of the Authentic Realism approach in five Australian short stories by Julie Keyes, Judith Ebun, Jess Roberts, Airdre Grant, and Margot Titcher, to which an authentic realist reader would respond. The content analysis method is used in searching for the depth and significance of the texts. Several aspects such as a depiction of the characters, strong female characters, the form and language of the text, the relation of the text to the author and experience are taken to obtain the reader's response by way of an Authentic Realism approach. The findings show that the short stories: My Mother’s New Boyfriend, Souvenir, Heartbreak Hotel, Lovers Knot and Someone Else are proof that women have their own perspectives and reactions. The female characters make their own choice themselves devoid of men’s influence. Despite Jim’s idleness, unwaged condition and dependency Mother remains his girlfriend. Mother’s previous boyfriends are mostly similar to Jim’s characteristics. Lynne told Mark that she has a lump in one of her breast and will soon have a mastectomy. Being disappointed and scared to picture Lynne with one breast, and lopsided, Mark decides to leave her. The female character in Lovers Knot enjoys having an unusual sex life with Gary. Her meeting with Jeff is only a break from her routine. In Heartbreak Hotel, Mum seems to be a typical ordinary wife with a moody husband. But it turns out that she is extraordinary for she handles all the problems single-handed including her sex life. Deirdre decides to take her new post in Perth after Paul snubs her. The decisions are theirs. The choice may not be perfect, but the choice is made. The writing style of the texts shows that the authors are experienced and know very well how to use the form and language to communicate with their (women) readers. Since the theme of the texts is mostly about daily life experience, (women) readers will find no difficulty in reading them; they can even share their feelings and experience with the characters in the texts. Moreover, by using authentic realist approach students of the English Department learn more about women's writings.

This study aims to identify modern bureaucratic government phenomenon expressed in W.H. Auden’s poem “The Unknown Citizen” (UC). This phenomenon will be revealed through the use of figures of speech, symbols and imagery in the poem. This poem is chosen as the object of the study since phenomenon happened in the poem represents people’s life and government practice in the modern era. Government, in the poem, seems to be very dominant. Its bureaucratic apparatus is powerful. Through its sophisticated technology, the bureau of statistics is able to detect the citizen’s identity. But, ironically, it could have not identified UC’s name as he lived in the world. He, then, was honored by the state by being erected the marble monument. The poem is analyzed by applying phenomenological criticism. The analysis finds that the representation of modern government is expressed through symbols emphasized by dramatic irony and supported by the use of internal sensation imagery. UC is the allegory of the average person with his bravery he sacrifices for the country. The state ought to give him an honor. In this poem Auden, actually, wants to write a parody for establishing monuments in some countries to honor the struggles of their soldiers who died in the World War I. Those monuments are really tombs since the function of a monument is a state’s thanksgiving for their sacrifice.

The prerogative to narrate the experience of marginal identities, particularly ethno-religious ones, appeared only in the post-occupation era in Iraqi fiction. Traditionally, secular Iraqi discourse struggled to openly address “sectarianism” due to the prevalent notion that sectarian identities are mutually exclusive and oppositional to national identity. It is distinctly in post-2003 Iraq—more precisely, since the sectarian violence of 2006–2007 began to cut across class, civil society, and urban identities—that works which consciously refuse to depict normative Iraqi identities with their mainstream formulations become noticeable. We witness this development first in the Western diaspora, where Iraqi novels exhibit a fascination with the ethno-religious culture of the Iraqi margins or subalterns and impart a message of pluralistic secularism. This paper investigates the origins of the taboo that proscribed articulations of ethno-religious subjectivities in 20^th-century Iraqi fiction, and then culls examples of recent diasporic Iraqi novels in which these subjectivities are encoded and amplified in distinct ways. In the diasporic novel, I argue, modern Iraqi intellectuals attain the conceptual and political distance necessary for contending retrospectively with their formative socialization experiences in Iraq. Through a new medium of marginalization—the diasporic experience of the authors themselves—they are equipped with a newfound desire to unmask subcultures in Iraq and to write more effectively about marginal aspects of Iraqi identity inside and outside the country. These new diasporic writings showcase processes of ethnic and religious socialization in the Iraqi public sphere. The result is deconstruction of mainstream Iraqi identity narratives and instrumentalization of marginal identities in a nonviolent struggle against sectarian violence.

This essay studies Afro-Asian sociocultural interactions in cultural production by or about Asian Latin Americans, with an emphasis on Cuba and Brazil. Among the recurrent characters are the black slave, the china mulata, or the black ally who expresses sympathy or even marries the Asian character. This reflects a common history of bondage shared by black slaves, Chinese coolies, and Japanese indentured workers, as well as a common history of marronage. These conflicts and alliances between Asians and blacks contest the official discourse of mestizaje (Spanish-indigenous dichotomies in Mexico and Andean countries, for example, or black and white binaries in Brazil and the Caribbean), which, under the guise of incorporating the Other, favored whiteness, all the while attempting to silence, ignore, or ultimately erase their worldviews and cultures.

The present paper offers a reading of three selected novels by two Anglophone Arab writers Diana Abujaber and Fadia Faqir. Our reading is fundamentally based on a philosophical post-humanist perception of other ethnic minorities as being inferior and un-human. In interpreting the three novels, Arabian Jazz (2003), My Name is Salma (2007) and Willow Trees Don’t Weep (2014), a main concern is to bring to light how Arabs –and Muslims –have been zombified and de-humanized in Western mainstream media and culture based on a biased stigmatization and stereotyping of a large heterogeneous ethnic group wherein religions, traditions, languages and cultures are diverse. Also, a pivotal preoccupation is going to be the exiling journey of the protagonists from their homelands to Western countries, and how these journeys contribute to the post-humanization of the self, the identity and the culture of Arab displaced immigrants.