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This article examines how the narrative disruptions characteristic of literary Modernism—fragmentation, non-linear storytelling, and unreliable narration—are reinterpreted and extended through contemporary cinematic adaptations of literary texts. Drawing on canonical Modernist techniques, the study explores their resonance in films such as TThe Great Gatsby (2013), The Hours (2002), and Atonement (2007), which adapt both Modernist and non-Modernist literary works. It argues that these films mirror the Modernist rejection of linear coherence by employing fragmented, multi-perspective storytelling to address contemporary cultural concerns. The article situates these disruptions within the theoretical frameworks of Modernist literary innovation and media theory, highlighting parallels between early 20th-century narrative experimentation and present-day cinematic storytelling. These case studies illustrate the evolving forms of narrative subjectivity and temporality, reimagining Modernist themes of time, memory, and identity through cinematic techniques like rapid montages, anachronistic soundscapes, and subjective voiceovers. By demonstrating that Modernist narrative techniques remain relevant in contemporary film, this study calls for an expanded Modernist canon that includes cinematic adaptations, underscoring the enduring impact of Modernist aesthetics on contemporary culture.

The current research examines Stephen Greenblatt’s theories on the improvisation of power as well as tyranny in William Shakespeare’s second tetralogy to investigate the complex network of non-violent psychological domination of human being’s mind, by the manipulation of symbolic order through the stages of displacement and absorption. It examines how the Western psychic mobility and its embodiment in empathy and the improvisation of power affect the represented English society in the Medieval era and how the consequential power relationships impact on the ways of ruling the country. The improvisation of power deconstructs the vertical and hierarchical power relations and makes them more diagonal, horizontal or even upward. The represented Medieval English court is a dark labyrinth of conspiracy, intrigue, treason, and complicity. This duality roots in religious fundamentalism of Roman Catholic church. The tension between the two paradigms of court and church causes turbulence and chaos. The result is the absolute submission of the majority through the improvisation of power, which paves the ground for the Machiavellian minority to exert power and gratify their personal self-interest-driven plans, which are mostly tyrannical. Through the improvisation of power, the course of history could change.

The purpose of the present study is to explore the two concepts of time and space in postmodern lyric poetry of the two poets of the 1950s through the lens of the Heideggerian existential theory of time and space, which regards time as a horizon for understanding Being and distinguishes three different types of space: (1) world-space, (2) regions , and (3) Dasein's spatiality. To fulfill this objective, some selected poems of the two poets, including Allen Ginsberg and Ted Hughes, were analyzed temporally and spatially. The findings suggested that the two poets tend to treat time and space existentially and reject eternality. It was revealed that they are existential poets whose existence is manifested in their quest for identity within the immediate world or the global world as well as their concerns for their homeland and ideals. In their poems, time and space are intermingled with Being and reflect each individual’s relationship with the world. The result of the analysis of poems showed that their poetry is not just the language of imagination and perception, but also the language of existence. The world is regarded as an existential space-time continuum and being-in-the-world is the fundamental ontological situation for Dasein. Accordingly, the world, like poetry, is a disclosure of things in nearness or distance, which matters to human beings

This interdisciplinary study examines Ian McEwan's Atonement by combining narrative analysis with the theories of Sigmund Freud and Paul Virilio. It looks closely at narrative techniques, time-related complexities, and cultural meanings in Atonement , linking Freud's idea of repetition compulsion with Virilio's views on technology and perception. Briony Tallis represents both Freudian traumatic re-enactment and Virilio's concept of the integral accident. Her ongoing guilt, like a rosary, symbolizes the repetitive nature of trauma. Using Virilio's gestalt theory, the study offers a new way to understand the novel's focus on perception. This research fills a gap in existing literature by bringing together Freud's psychoanalytic perspective and Virilio's technological insights to analyze Atonement . This combination of theories is a new approach that provides fresh insights into how McEwan's narrative structure reflects the interplay between trauma, technology, and cultural reception. For example, the study explores how the novel's fragmented narrative mirrors Briony's fractured psyche and how technological advancements during the wartime setting influence characters' perceptions and actions. This study of Ian McEwan's Atonement demonstrates how stories can help individuals understand their feelings and experiences better. It uses psychology and technology to explore how storytelling affects the understanding of trauma, perception, and the modern world.