By the nineteenth century, silent reading had replaced reading aloud in Europe. In this context, depiction of ‘loud reading’ in works of European writers acquired new meanings. Apart from numerous functions identified by Eric de Haard, such as moving the plot, character representation, prose embellishment, such episodes may serve metatextually, as a means of shaping the literary canon. Though obviously influenced by the existing canon, fellow co-writers aspire to channel their literary views through citing other authors. The present paper analyses reading episodes in Charlotte Brontë’s novels. I argue that in Brontë’s oeuvre reciting is used as a metatextual gesture intending to broadcast the writer’s preferences. The presence of so many books mentioned in passing, without referring to their authors, stresses the importance of the episodes where the writers are named, let alone those where their works are read out loud. Brontë’s deployment of different techniques to acquaint her readers with them – direct or transformed citing, retelling, declamation, summarizing – indicates that she carefully chose methods of inserting pieces by other writers. Taken together, these recited passages form the nucleus of the canon as Brontë perceives it. Considering literary discussions in which her characters are engaged and their expressed preference of national literature (Shakespeare, Scott, Cowper), of particular interest are the episodes where her characters cite from foreign sources. As these insertions may be regarded as examples of heteroglossia, both linguistic and authorial, reciting foreign works may be seen as an attempt to shape the literary canon parallel to the national one. Among other functions, Brontë’s use of foreign literature serves as a vehicle for cultural exchange, highlighting the interconnectedness of European literary traditions. By incorporating German and French drama, poetry, and balladry, Brontë positions her work within a cosmopolitan literary framework. This strategy not only elevates the cultural capital of her novels but also challenges the insularity of the English literary canon (which is so vivid in Jane Austen’s novels), advocating for a more inclusive and dialogic approach to literature. Charlotte Brontë’s use of characters’ reading and recitation transcends the boundaries of narrative technique, serving as a metatextual gesture that shapes and critiques the literary canon. Through her careful selection and integration of texts – both English and foreign – Brontë constructs a nuanced vision of literary value that reflects her aspirations as a writer and cultural mediator. By inviting the reader to engage with these works, she not only enriches her narratives but also fosters a deeper appreciation for the diversity and dynamism of the literary tradition.

本文从文学文化角度探讨如何与中国银龄群体共同营造“未来花园”，以应对老龄化社会的需求。通过分析浪漫主义文化背景、文学理论以及实际案例，结合AeX研究团队的园宇宙万象共植项目，探讨如何通过实际养花、种植类植物、精神花园和数字元宇宙的结合，为中国老年人创造一个专属的社群空间，丰富他们的精神生活，促进文学文化的交流与传播。特别突出作者在项目中的具体工作和贡献，包括运营、植物诗歌分享和数据整理等，并展望后续工作，以水仙花为例，探讨其文化寓意和活动策划。

The purpose of this research is to study the stories and memories of oppressed women, to present and analyse the characteristics of women's narratives and memories. In order to appreciate the limits of memory that autobiographical reconstructions are subject to, it is important to remember that memories are complex constructions, not records of reality, and that both individual and cultural memories are imaginative reconstructions of past events. Because memories are reconstructed from the relevant present, they say more about the present needs of the narrator or autobiographer than about any event in the past life of the autobiographical subject.

The aim of the research is to identify and analyse the significance and limitations of memory in the narratives of oppressed women, the narration of experiences and the influence of a specific socio-historical environment and cultural affiliation on the construction of self-narrative identity. The short stories of Nutsa Ghoghoeberidze (collection "Train of Happiness") and oral histories of oppressed women ("Lost History-Memory of Oppressed Women") were selected as research objects.

Paul Eakin's concept of relational identity was chosen as the theoretical framework for the research, emphasising that our news is not always self-chosen, but that we are involved in it because we belong to a particular culture. The narratisation of experience and the construction of narrative identity are determined by culture.

Aleida Assman's three forms of memory stabilisation - Assman identifies three forms of memory stabilisation: affect, symbol and trauma.

Fukugō-Osen (Compound Pollution), written by a Japanese female author Sawako Ariyoshi (1931-1984), is a newspaper novel serialized in Asahi Shimbun from 1974 to 1975. It covers the effects of chemicals on the human body and the environment, including pesticides, food additives, factory effluents, and synthetic detergents. Ariyoshi, known for her bestselling novels in post-war Japan, spent more than 10 years researching and interviewing experts to write this novel. While this novel appealed to a wide readership, it faced strong rebuttals from the government, scientists, and industries.

This presentation explores a dialogue between literature and science by female writers through a comparative analysis of Compound Pollution and Rachel Carson’s Silent Spring (1962). In Compound Pollution, the author refers to Silent Spring as a novel by a female writer who successfully demonstrated the dangers of chemicals such as DDT (dichlorodiphenyltrichloroethane), even in the face of criticism by male scientists. She anticipates that similar criticisms will be leveled at herself for writing Compound Pollution.

In the 1970s, environmental awareness and the grassroots consumer movement spread among Japanese women. After witnessing the outbreak of Minamata disease in the 1960s, it became clear that advances in science, technology, and economics would have a serious impact on the environment. With the rapid development of scientific technologies and the use of chemical products in everyday life, Ariyoshi describes the difficulty of proving the safety of using chemicals and critiques scientific positivism. Using the format of a newspaper novel and a conversational style, she aimed to write not an accusation or warning but an “easy-to-understand and interesting” story to make people aware of the “truth.”

After her short novel was nominated for the Akutagawa Prize in 1956, Ariyoshi energetically published novels, plays, and reportage as a popular writer in the 1960s and 1970s. With the rise of mass media, many of her works have been adapted into movies and television dramas. This study will clarify the position of Compound Pollution in her broader body of works and the background of its creation. Compound Pollution is a novel that uses experimental media, genre, and style as a female writer to communicate scientific knowledge to the general reader.