‘Je n’ai rien à dire. Seulement à montrer’ : le travail photographique et poétique de Natalie Czech by Vanessa Desclaux

“…This text introduces the work of German artist Natalie Czech, whose visual practice stages a meeting point between photography and poetry. …”
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'n Hoofstuk in die (outo)biografie van die predikant (pastor?) by J-A. van den Berg

“…Voices from literature, those of various pastors (biographical) and that of the author (autobiographical) direct the process of Participatory Action Research and supply the text. …”
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Teologia wśród nauk formalnych. Uwagi polemiczne do artykułu Krzysztofa Jaworskiego by Łukasz Remisiewicz

“…The author also addresses Jaworski’s objections and points to the need for a more precise definition of his earlier position, emphasizing the importance of formal methods and rules of text transformation in theology.…”
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Linguistic and rhetorical analysis of Abdul Hossein Zarrinkoob's writing style in the "notes" of his works by Elahe Azarbayjani, Amir Hossein Madani

“…One of the research methods that Zarrīnkūb uses in most of his works is "note writing," a method which has enabled the author to provide further explanations about the main text as well as presenting extra information about documentations and sources. …”
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"The Horse on which Words Ride": Proverbial Narrative in Toyin Falola's A Mouth Sweeter than Salt by Felicia Ohwovoriole

“…The text is set in Ibadan, Ode Aje and Ilorin. We find a rich and knowledgeable exploitation of oral forms which the author uses within the frame of the biographical genre. …”
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A Critical Review on the Book From Crisis to Collapse: A Mirror in Front of Us by Ahmad Dorosti

“…In this book, we are faced with weighty and revised prose and a coherent and uniform text. The theoretical framework of the work is the same theory that the author has formulated for the analysis of revolutions and the process of transition to democracy in his previous works. …”
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Biblical Turns of Phrase, Repetition and Circularity in Oscar Wilde’s Salome by Sébastien Salbayre

“…If the play was considered outrageous in Victorian Britain it was obviously because of the author’s use, appropriation and transformation of Biblical sources. …”
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