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Reconciling Arabo-Islamic culture and feminist consciousness in North African women’s writing: Silence and voice in the short stories of Alifa Rifaat and Assia DjebarThis article sets out to explore the theme of silence and voice in selected short stories by two North African women writers, Alifa Rifaat and Assia Djebar. In their representations of women’s lives in Egypt and Algeria, respectively, both Rifaat and Djebar present different strategies employed by women to counter gender oppression. Although the female characters portrayed by both writers encounter diverse, and sometimes opposing, circumstances, they tend to share a common plight – the need to break free from the constricting fetters of patriarchy. A comparative reading of selected stories reveals that Rifaat’s characters resort to silence as a means of self-preservation, while Djebar’s characters, on the other hand, use techniques ranging from writing to outright protest to show their rejection of gender-based segregation. In spite of this difference in approach, it can be said that both Rifaat and Djebar have made a great contribution to feminist literary creativity in North Africa.
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Confucianism and Folklore in Vietnamese Fantasy Short Stories: <em> The Case of Ghost Stories </em>Truyền kỳ, which is a genre of fantasy short stories, was formed and developed in the historic period of medieval literature of Vietnam in the sixteenth and seventeenth centuries. Despite being derived from a similar Chinese genre, the truyền kỳ of Vietnam was the work of the endogenous development of the national fantasy short story, which was closely associated with folk literature and historical prose. However, at the time of its inception, as well as at the glorious top of this genre, truyền kỳ had never been accepted as an official genre. It was rather a metaphor for unorthodox discourse in formal Confucian society. The reason is that truyền kỳ founded the first elements of folk narrative genres that were considered inferior and which Confucius advised Confucians to reject. Therefore, truyền kỳ deeply influenced Confucian doctrines, yet in this genre by itself, the deficiencies of Confucian philosophy related to the metaphysical world were exposed in competition with other non Confucian religions that had emerged, such as Buddhism, Taoism, and especially folklore. By analyzing ghost stories that represent the most typical case or expression of the complex relationship between Confucianism and folklore in the Vietnamese truyền kỳ genre, this article concludes that all the ontological crises of Confucianists that manifested in truyền kỳ derived from this tradition of folklore which created a minor discourse of a Confucian literatus who wrote on the periphery of official Confucianism.