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1
Kumar, Prem. "Intertextuality in Nāṭya Literature: Un-wrapping the Riddle of Historical Imagery and Literary Citations in Śūdraka’s Mṛcchakaṭikam." YMER Digital 21, no. 02 (February 3, 2022): 32–41. http://dx.doi.org/10.37896/ymer21.02/04.
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Intertextuality is widely used in the production of various genres of literature in India. It is most widely used in smṛti literature. The present article explores intertextuality in Mṛcchakaṭikam, which is one of the important nātya literatures of the Gupta period. In this play, Intertextuality is expressed in direct and indirect ways in the adoption of plots, subplots, characters, incidents, etc. Stories, fictions, mythologies, histories, texts, authors, characters all feed on intertextuality. The author of the play knew the basic historical and literary information that he invoked in his plays as references, quotations, allusions, examples etc. to authenticate his writings.
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Vdovin, Alexey. "THE MODELS OF PEASANT AGENCY IN FICTION FOR COMMON PEOPLE IN THE RUSSIAN EMPIRE, 1839–1861." Children's Readings: Studies in Children's Literature 23 (2023): 269–98. http://dx.doi.org/10.31860/2304-5817-2023-23-1-269-298.
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The traditional narrative on the history of public education and reading in the Russian Empire considers books for “common people” as a genre appeared not earlier than in the 1860s, and en masse only in the 1880s. This article substantially corrects this notion and uses the material of 15 fictional texts created by the educated elite (Mikhail Zagoskin, Vladimir Sollogub, Vladimir Dal’, Vladimir Burnashev, Nikolaj Uspensky, Maria Korsini, Mikhail Mikhailov, Marko Vovchok, etc.) for folk reading in 1839– 1861 to prove the existence of the early stage of this type of didactic literature for the people. Using the method of determining so called ‘elementary plots’ for fiction texts, the author identifies 4 groups of texts with different types of plots (plotless, type “Temptation”, type “Violence”, texts about love and marriage), which embody different ideas of whom the peasants were as subjects, how they were to interact with each other, with the law, and the authorities. The analysis of the stories becomes the starting point for interpreting the model of peasant agency that the authors of the stories elaborated for the folk. The study shows that while the patriarchal model of the peasant agency dominated in the 1840s and first half of 1850s, on the eve of the abolition of slavery in 1859–61 the democratically minded authors (Marko Vovchok and Mikhail Mikhailov) tried to construct in stories for peasants an emancipated type of agency, with human dignity at its core. The special section of the article describes the intersection of literature for common people of the 1840s with children’s literature of the 1830s.
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Maryaskina, E. A., and I. V. Nekrasova. "SECONDARY TEXTS AS A VARIANT OF THE "TRANSCODING" OF THE CLASSICS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 80 (2021): 86–90. http://dx.doi.org/10.37313/2413-9645-2021-23-80-86-90.
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The article is devoted to the study of modern Russian literature, created on the basis of the classics. On the example of the stories "The Lady with the Dog", "Darling", etc., the secondary texts of G. N. Shcherbakova from the collection of short stories "Yashkin's Children" are considered as variants of "recoding" of "Chekhov's texts". The analysis of some texts from the collection is carried out, the methods and techniques of turning modern texts to classical ones are determined. It was revealed that the integral elements of the context of A. P. Chekhov in the work of the modern writer G. N. Shcherbakova's works are intertextual dialogue, an anachronization of intertextual material. Intertextuality is implemented using various techniques and methods: the reproduction of a classical text in a modern situation, a dialogue with the Chekhov text and its characters, an insert story, borrowing titles, plots, and storytelling methods.
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Andrianova, Irina, and Olga Sedelnikova. "Apollon Maikov and Fyodor Dostoevsky: the Unfulfilled Idea of Short Stories from Russian History." Неизвестный Достоевский 11, no. 1 (March 2024): 127–53. http://dx.doi.org/10.15393/j10.art.2024.7101.
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The article examines the creative history of short stories from the Russian history of Apollon Maikov on the basis of epistolary sources and archival materials. The idea of the work emerged in the author’s mind in a discussion with Fyodor Dostoevsky: in letters of 1867–1869 they reflected on Russia’s past and future, the work on the translation of the “Tale about Igor’s Campaign,” the need to create a textbook living history, the central event of which would be the spread of Christianity in Russia. In correspondence with Maikov, Dostoevsky outlined the concept of epics as a literary genre capable of expressing the essence of Russian history and “serving to revive the self-consciousness of the Russian people” and delineated the turning points of history that determined the future of the country. Maikov conceived another version of the description of Russia’s past — a cycle of ten to twelve historical short stories “for children and the people.” He recorded the plan of the work point by point in papers dating from 1868, and outlined it to Dostoevsky in an April letter for 1869. In separate short stories, he intended to reveal the deeds of Alexander Nevsky, Metropolitans Peter and Alexy, Dmitry Donskoy, Ioann III, Ivan the Terrible, Ermak, St. Sergius of Radonezh, Peter I, Catherine II, Suvorov, the events of 1812, the Crimean War and the liberation of the peasants. The author planned to tell the reader about the main events of Russian history and the patriots of Russia, to reveal the supreme destiny of its historical path, the prerequisites for the formation of the Russian national character, to highlight the idea of unity and integrity of all Russian territories. To realize the idea, Maikov processed chronicle legends, epics, folklore sources (for example, anecdotes about Peter I), the works of historians (I. D. Belyaev, K. P. Pobedonostsev, etc.). He thought out the plots in detail, worked through them repeatedly (which is confirmed by the preserved cycle plans for 1868 and 1881), but released from print only two short stories in 1869 (the second story includes four separate plots). Neither Dostoevsky nor Maikov succeeded in carrying out their plans for historical works. But their plans testify to a common understanding of the historical path of Russia — the path of preserving the Orthodox Christian truth in the struggle for identity and independence. Conscious of their moral duty to the fatherland, they considered it their duty to convey to readers the need to feel Russian and the right to be proud of the history of this great country.
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Bohdanets, Svitlana. "Gastronomic Humor in Medieval European Literature: Topoi and Historiography." Text and Image: Essential Problems in Art History, no. 2 (2019): 34–43. http://dx.doi.org/10.17721/2519-4801.2019.2.02.
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The article looks at topoi in gastronomic images of European medieval humoristic texts and seeks to examine the connection between food and comic discourses. The author shall also highlight how these images were evaluated and interpreted by scholars of a different methodological background. The attention is paid to motives in gastronomic humour and comic plots related to food, which were widely spread in Western culture. Gastronomic humour is displayed through examples that are to be found in such medieval literary genres as farce, fabliau, Schwank etc. The study aims to propose a common food comic code, explain the principles of its implementation in the text and show its typical constituent elements. The essay starts with an examination of anthropological and social factors that might have shaped and symbolically and functionally determined gastronomic humour. It is assumed that mouth has a significant role in the processes of organization of nutrition and laughter on the bodily level. Then the author overviews in detail the literary origins of gastronomic jokes tracing their formation from the antique comedy. The development and establishment of food comedy are shown through examples from medieval urban literature. Attention is also drawn to the context in which the text functions, in other words, the specifics of its implementation in time and space. It is revealed that nutrition often appears as a background for comic plots, and culinary spaces are typical locations in humoristic stories. According to their professional activity comedy characters are also closely related to food. It is noticed that the food itself becomes a subject of conflict in a comic situation. Main characters actions are concentrated around the food, drinks or dishes. Another aspect of gastronomic humour involves a situation where eating resembles defecation. A typical comic tool on its own is the analogy between having a meal and sex. The paper also describes the features of food that often appear in humoristic texts and therefore has a higher level of comic value.
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Anna A., Zabiyako, and Zemlyanskaya Kseniya A. "Stories of the East in the Context of Artistic Ethnography by V. Mart of the Soviet Period." Humanitarian Vector 16, no. 4 (October 2021): 8–17. http://dx.doi.org/10.21209/1996-7853-2021-16-4-8-17.
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The relevance of the research is determined by the interest of modern literary criticism in the methodological paradigms of studying texts of artistic and ethnographic content in thematic, genre-stylistic, receptive aspects. The novelty lies in the source study, textual, genre-stylistic analysis of the unpublished collection Stories of the East by V. Mart. The research problem lies in the poetological reconstruction of the history of the creative failure of the opportunist literate writer in the Soviet literature at the beginning of the 1930s. The research methodology is based on genre-stylistic, structural-semantic analysis, source analysis of manuscript texts from the point of view of their ethnographic orientation. Based on the experience of research published in the USSR and works of artistic ethnography of the writer, the authors establish the typological features of the artistic strategy by V. Mart. Research methods: historical and literary, structural and semantic, source analysis, mythological reconstructions. The authors state that the unifying principle of V. Mart’s collection Stories of the East is his “old-fashioned” attitude. It turned out that V. Mart collected variations of previously published “oriental” stories and only a few completely new works (Indian, Japanese, Korean, Chinese themes) into a single artistic space. When creating them, he mainly used typological techniques used in previous publications of the Soviet period: the contamination of traditional mythological plots and revolutionary maxims, the transposition of foreign cultural realities into Russian reality, simplified linguistic, ethnocultural, mythological commentaries, etc. The authors of the article came to the conclusion that the collection was compiled in the early 1930s; at the same time, neither artistic flaws nor problems with the reliability of the ethnographic material became the reason for the rejection of the manuscript for publication. Factography in depicting revolutionary events in China and other countries of the late 1920s played the fatal role of anachronism in the early 1930s, when the situation in the Northeast and Southeast Asia changed dramatically. The ethnographic “true stories” of Mart put together became convincing “sabotage” evidence of the defeat of the revolutionary movement in the East and the strategic mistakes of Soviet diplomacy in the region.
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Vasylenko, Vadym. "«Ancient Kyivan Legends» by Natalena Koroleva: renewal of the genre." Philological Review, no. 2 (November 29, 2023): 103–14. http://dx.doi.org/10.31499/2415-8828.2.2023.299076.
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The paper is devoted to the analysis of the collection (two volumes) Ancient Kyivan Legends by Natalena Koroleva as an individual author’s vision of ancient Ukrainian history, the problems of its genre specificity, probable historical and literary sourceography, the nature of artistic imagery. In particular, plot echoes of some Koroleva’s legends of the Scythian cycle with ancient Greek and Slavic myths and Herodotus stories, the Kyevan cycle with ancient Ukrainian chronicles, primary with the stories of Tale of Bygone Years, and The Kyiv-Pechersk Patericon, as well as with the Scandinavian epos, displayed in the Poetic Edda. It is noted the author modernized the legend genre traditional in Ukrainian literature, in particular through the synthesis of mythological, historical and apocryphal elements, the combination of literary and folklore means, appeal to the principles of historicism and psychologism, as well as displacement of time and space, intertextual constructions, reminiscences etc. It is argued the way of artistic representation chosen by the writer, the style and language of her works most correspond to their material, its spirit and essence. Reconstructing plots taking from the Scythian, Kyiv Rus’ times, Koroleva systematically and on high ideological and artistic registers fills in the gaps in the cultural history of Ukraine, in particular, she tries to renew those links in historical memory that are necessary for understanding the continuity of the development of the Ukrainian nation. Among other things, the Scythian motives of Koroleva’s legends are analyzed, in particular, author’s interpretation of the story of Herodotus about the origin of the Scythians (about Heracles and Melusine), as well as her rethinking of the legend about the founders of Kyiv (three brothers Kyi, Shchek, Khoryv and their sister Lybid).
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Ponomareva, Anastasiya A. "The plot of the arrival of the landowner in the village in A. F. Pisemsky’s novel The Troubled Sea: Literary sources." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 55–61. http://dx.doi.org/10.18500/1817-7115-2022-22-1-55-61.
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The article studies literary sources of the plot about the arrival of a landowner in the village, presented in A. F. Pisemsky’s novel The Troubled Sea (1863). The paper reveals that the model of this plot was formed in the stories of the pre-reform period, i.e. at the turn of the 1850s– 1860s. Especially often stories with this plot were published in M. N. Katkov’s magazine Russkiy Vestnik (The Russian Bulletin). The main feature distinguishing this plot is the image of a landowner coming to the village. It was found that his description was stereotypical: the youthfulness and progressiveness of the hero’s views were invariably emphasized. In the stories of this time, the conflict arises between a young progressive landowner and a representative of the older generation (father / neighbor / an elderly servant, etc.). Also, an obligatory element of the plot in question is the reorganization of the economy with a modern twist by the recently arrived landowner. The main motive associated with the reconstruction is the total destruction of everything considered old. The paper shows that attempts to rebuild the economy have always been unsuccessful and led to serious dramatic or tragic results. In the post-reform period, the plot associated with the arrival of the landowner in the village became a ‘derivative semantisation’: it adapted to the new relevant tasks that became the focus of attention after the peasant reform. The paper analyzes in detail the variant given in the story of A.V. Druzhinin Last Summer in the Village (1862). It is shown that the novel The Troubled Sea contains a large number of references to this particular variant. In the course of the comparative analysis of these works, it is concluded that Pisemsky argued with Druzhinin on some issues related to the peasant reform and its results. In conclusion, it is inferred that the plot of the landowner’s arrival in the village in the novel The Troubled Sea was obviously guided by the stories in Russkiy Vestnik. Pisemsky shared the view of Katkovsky’s edition in interpreting the behavior model of the landowner, who began to reorganize the life of peasants under the influence of democratic literature.
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Ponomareva, Anastasia A. "The Generation Gap in Russian Literature of the Second Part of 1850s." Philology 18, no. 9 (2020): 157–68. http://dx.doi.org/10.25205/1818-7919-2019-18-9-157-168.
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The paper analyzes the generation gap in the Russian literature of the second part of 1850s. Our research is based on works published in magazines: short stories, novelettes, and novels by L. N. Tolstoy, E. P. Novikov, P. I. Melnikov-Pecherskii, S. T. Slavutinskii, S. A. Ladyzhenskii, N. M. Pavlov, etc. The generation gap in Russian literature of the second part of 1850s hasn’t yet been made an object of special research. It is traditionally touched upon in relation to the novel Fathers and Sons (1862) by I. S. Turgenev and fiction ‘generated’ by this novel. However, variants of 1850s and of 1860s differ from each other in significant ways: these variants linked by various ideas, heroes, plots and other. The paper features two variants of the generation gap formed in the Russian literature of the second part of 1850s: great-grandfather / grandfather versus children, fathers versus children. The paper contains a detailed analysis of characterology and plot functions of protagonists that collide with each other, as well as structural-semantic plot organization. First generation gap formed in the middle of 1850s. Short stories, novelettes, and novels have similar plot-composition structures: a story from the distant Russian past forms the plot core; as a rule, events take place in the 18th century (the so-called grandfather’s time); most often, the story is told by a servant of an old lord or is written down after his words; the audience of the story is meant to be from the middle of the 19th century; in some cases, he is also the narrator, a young man who compares generation values of the 18th and 19th centuries. The paper asserts that, in spite of the fact that events take place in the past, the generation are identified through the turn towards social processes of the second half of the 1850s, particularly the emancipation reform. Literature and criticism emphasize the arrival of the new educated follower of democratic reforms instead of the hot-tempered landowner of the old type. The type of the educated landowner gained prominence in 1850–1860s during the active discussion of the emancipation reform. The main narrative function of such protagonists is to prove the effectiveness of democratic theories in practice. At the core of the plot there is the conflict with the generation of fathers, the opponents of reform. We propose that the generation of children, as well as the generation of fathers, is needy: in spite of their education, the young men are shown to be petty and unable to act upon their words or understand the peasant way of life. The protagonists explain their lack of success by other reasons: the new generation was too hasty in their actions. In conclusion, we maintain that Russian literature reflects an important social process of second part of 1850s, namely the anticipation of a ‘new’ man able to act upon popular democratic theories. This type formed ex adverso: writers and critics show a kind of behavior that differs from that of great-grandfathers, grandfathers, or fathers. However, the problem of rearrangement of the social system is beyond the abilities of the ‘fifties’ protagonist’. Much as he differs from his ancestors, he remains their descendant. A demonstrative devotion to democratic theories does not negate his aristocratic privileges. As a result, the plot turns stemming from popular ideas do not work as expected in the end.
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Koroleva, Vera V. ""Hoffmann’s complex" in Edgar Allan Poe’s story "Loss of Breath"." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 82 (2023): 288–302. http://dx.doi.org/10.17223/19986645/82/13.
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In the article, based on the theory of intertextuality (Roland Barth, Julia Kristeva), the question of the influence of E. T. A. Hoffmann on the formation of the satirical style of Edgar Allan Poe in the cycle of stories Grotesques and Arabesques (Tales of the Grotesque and Arabesque (1839)). The author argues that Hoffmann’s recognizable plots (“The Sandman”, “Princess Brambilla”, “Elixirs of Satan”, etc.), which were popular during this period in Europe, as well as the relevance of the problems of his works and the original style, could become a source of not only satire (the story “Loss of Breath” is written as a parody of works from Blackwood’s Edinburgh Magazine, where Hoffmann was also published during this period), but also samples for the early works of Poe. The hypothesis of the article is the statement about the possibility of applying in American literature, on the example of Poe’s story “Loss of Breath”, the previously developed methodology of “Hoffmann’s complex” (characterized by the integrity of the reproduced content, the unity of issues, images and stylistic techniques), which allows highlighting the traditions of the German romantic in Poe’s works, where they are not obvious. The features of Hoffmann’s poetics are considered in Poe’s “Loss of Breath” (1832) in the form of “Hoffmann’s complex”, which includes the following components. Firstly, it is the transformation of the romantic plot (Hoffmann’s “Adventure on New Year’s Eve”), which Poe reinterprets ironically, depriving it of an infernal context. He rethinks the idea of a two-world and mixes the real-life and theatrical narrative planes by combining the puppet element with the human one, by characters’ behaving theatrically, by acting out the roles that are imposed by society (a corpse, a criminal), by replacing household details with theatrical attributes (a false jaw, two buslles, a false eye). Secondly, it is the actualization of the problem of mechanization of life and man, which is realized in the opposition of the living – the inanimate (“The Sandman”, “Princess Brambilla’) and is aimed at criticizing society, which devalues a person and turns him into a “living” corpse, a doll. In contrast, objects come to life, and abstract concepts (breath) become materialized. Another manifestation of the problem of mechanization of life and man is the comparison of a man with an animal, and an animal with a man. Thirdly, it is the use of stylistic techniques characteristic of Hoffmann (“The Golden Pot”, “Little Zaches Called Cinnabar”, “Princess Brambilla”, etc.): hyperbole, self-explanatory names, romantic irony and grotesque, which are characterized by a sharp change of the serious and the frivolous, a combination of the objective and the subjective, a continuous parody, as well as the use of alogism – reasoning that violates the laws of logic, when something terrible (execution, autopsy of the body) is described as funny, etc.
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Pikun, Lesia. "The Frank Einstein Books by Jon Scieszka as a Variant of the Literary Game with Cultural Heritage." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 14, no. 25 (2021): 79–86. http://dx.doi.org/10.34079/2226-3055-2021-14-25-79-86.
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The article is dedicated to the study of the literary mirror game with the cultural heritage in the Frank Einstein books by Jon Scieszka. The Frank Einstein books were first translated and published in Ukraine in 2019. This article is the first investigation of the Frank Einstein series by J. Scieszka as a literary game. Six Frank Einstein books (“Frank Einstein and the Antimatter Motor” (2014), “Frank Einstein and the Electro-Finger” (2015), ‘Frank Einstein and the BrainTurbo” (2015), “Frank Einstein and the EvoBlaster Belt” (2016), “Frank Einstein and the Bio-Action Gizmo” (2017) and “Frank Einstein and the Space-Time Zipper” (2019)) demonstrate vivid examples of the literary game in the contemporary children’s literature from the positions of the author as a game creator and the reader as a game opponent. J. Scieszka was born in 1954 in Flint, Michigan, USA. The future writer received a varied education. He attended the military academy, then studied English and pre-med at Albion College for his B.A., and in 1980 received a master's degree of Fine Arts in fiction writing at Columbia University. After graduation J. Scieszka worked as a teacher at an elementary school. Teaching schoolchildren, Jon re-discovered how smart they are. School children turned to be the best audience for the weird and funny stories he had always liked to read and write. The books by Jon Scieszka are based on recognizable archetypal plots and iconic characters, which are not presented to the reader in a conserved form, but focused on the current stage of culture and science development. The writer cheerfully and humorously manipulates well-known plots, rewrites established ideas, and interprets familiar literary themes, motives, characters, etc., presented in world-famous science fiction, well-known to the modern young reader. J. Scieszka says that he got his ideas from other books, his kids, kids he had taught, kids he had learned from, watching movies, playing with his cat, talking to his wife. He also includes allusions to his favourite writers – Cervantes, Kafka, Borges, Pynchon, Sterne, Barth, Heller (Scieszka, 2014). J. Scieszka uses a repertoire of prominent scientific and literary samples in his work, such as the character of the scientist Frankenstein by M. Shelley and the theoretical physicist Albert Einstein, the inventor and businessman Thomas Edison, a fictional character Dr. Watson in the Sherlock Holmes stories by Sir Arthur Conan Doyle, the primatologist Jane Goodall. There is a mechanism of mirror doubling in the system of characters: Frankenstein and Frank Einstein, Albert Einstein and Al. Einstein, Klink and Klank, and the complex mirror refraction of Frank Einstein and Watson as Sherlock Holmes and Dr. Watson, Frank Einstein and T. Edison as Sherlock Holmes and Professor Moriarty. The article analyses the well-known literary and scientific achievements that acquire a mirror replay in the books about Frank Einstein. The researcher concludes that the books by J. Sciezska are a source of vivid emotional experiences and motivation for serious readers’ reflection. The author of the article draws attention to the fact that the play field created by J. Scieszka is a product of accumulated cultural content, which activates the human tendency to imitate, assimilate and repeat. This game is a form of conscious assimilation and processing of the universe of intangible and material artifacts, objectified actions and relations created by mankind in the process of mastering nature.
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Omarov, Bauyrzhan. "“Migration plots” in Kazakh fairy tales and Indian literary manuscrip." Turkic Studies Journal 4, no. 1 (2022): 58–69. http://dx.doi.org/10.32523/2664-5157-2022-1-58-69.
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The issue of the plot commonality of Kazakh fairy tales and ancient Indian written monuments has not yet become the subject of comprehensive scientific research, in this regard only separate works can be mentioned. Legends and myths from Eastern literature are not only absorbed by kazakh fairy tales, but also include many other works based on ancient stories. It is known that these legendary stories first passed from one to another literary monuments of India and were formed as a migration plot in the country itself. Then the migration plots spread to a number of countries of the world, then to the Central Asia and became the basis for topical works of neighboring peoples. The Kazakh literature includes numerous stories that originate from Indian literary relics. Special attention is paid to the abundance of stories common to Kazakh fairy tales and ancient Indian literary monuments.The current work reflects the nature of the legends that exist in the literature of the two countries, the ways of spreading the stories, their adaptation to the realities of the nation, their acquisition of new characteristics, as well as the ideas about the interaction of literatures. A comprehensive analysis of the differences and similarities of common plots is conducted.
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Олійник, Н. "PECULIARITY OF STRUCTURALLY SIGNIFICANT ELEMENTS ON THE LEVEL OF PLOT AND COMPOSITION IN V. PIDMOHYLNYI'S NOVEL «A LITTLE TOUCH OF DRAMA»." Journal “Ukrainian sense”, no. 1 (August 8, 2021): 86–97. http://dx.doi.org/10.15421/462107.
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Background. The modernist-temporal semantics of the cultural epoch of the first third of the XX century was reflected in many ways in the works of Valerian Pidmohylnyi, whose works the researchers rightfully considered one of the biggest achievements of Ukrainian literature of this period. The novel «A Little Touch of Drama» poses many questions that require thoughtful scientific consideration of literary critics. Among them, there is a question of defining the spatial categories of topos, loci, chronotope of the city, the realities of the day, the details of the real world, which outline the characters.
The purpose of the article to investigate the peculiarities of such structurally significant elements of the plot-compositional level of V. Pidmohylnyi's novel «A Little Touch of Drama» as spatial categories of topos, loci, chronotope of the city, realities of the day, detailing of the real world, including household details, interior semantics, clothes, decorations, food, time and sound markers, etc.
Methods: holistic-systemic, analytical reading of an artistic text.
Results. The article focuses on the image of Kyiv, the city where the characters live – the main topos of the novel, which includes various social loci, the everyday items. Private locations (closed space of the house, the room) form the external and communicative space of the characters – Marta Vysotska, Yurii Slavenko, Iren Markevych, etc., who are inscribed in the specific interiors of rooms where cyclic time prevails. The question of the semantics of the interior is raised (the basic interior of Marta's room is shown briefly while the high semiotic status of the Markevychs' apartment is depicted in much richer details). The motif of marking Irene with things in her room is repeated in different plot situations. Household details, in particular household items of the Markevychi’s, are an essential part of their measured arranged existence.
Household items add to the psychological features of the characters, as evidenced in particular by the author's attitude to detailing the clothes of the characters and – much less – their food. In the text of the novel, only a few features mark the clothes of the characters, but they are enough to reveal the characters. Detailing of women's jewelry and perfumes by Marta Vysotska and Iren Markevych is also embodied, which determines the social, age, material, psychological features of their characters. The question of the food code in «A Little Touch of Drama» is raised, however in comparison with the conceptual field of household items, outfits of the characters, it is rather limited; it would seem that the informative attention is focused on intellectual, philosophical, psychological, love collisions; and yet the motive of food shows the author's attitude to the characters, their inner state, mental disorders and is often switched to the subtext.
The temporal parameters of the text of «A Little Touch of Drama» are definite: the events take place within two and a half months, which is psychologically motivated. Both the beginning and the end of the plot action are clearly defined; not only the days of the months, the time of day but also the specific years are mentioned in the text, which brings together the plot lines, defines the time-space, which make a visible and causal link between the stories of the characters. Sound markers (knock on the door, the auditory sensation of footsteps perform specific emotional, expressive, and semantic functions.
Discussion. Analysis of such significant elements on the level of plot and composition of V. Pidmohylnyi's novel «A Little Touch of Drama» as the chronotope of the city, the chronotope of the room, familiar and alien space, topos and loci, realities of the day, detailing and psychological peculiarities of the interior, character's clothes, food, time, sound markers, etc., express the ideological and aesthetic dimension and the author's position in the text. The research makes it possible to clarify the socio-cultural meaning of the work, the life strategy of the characters, the peculiarities of the author's understanding of the essence of the world through the material code.
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Neely, Ann, Bettie Parsons Barger, Lynne Bercaw, Mathew Espinosa, Melanie Hundley, Chris Iddings, and Robin Smith. "Children’s Literature Reviews: Discipline and Characters in Children’s Literature." Language Arts 87, no. 1 (September 1, 2009): 72–79. http://dx.doi.org/10.58680/la20097979.
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Discipline . . . the teacher’s goal, perhaps. Why then do we often provide readers with characters, plots, and ideas that represent anything but discipline? Young readers love books where the characters may be unruly and unpredictable. They like stories where the characters get in and out of trouble. And they enjoy pondering the plot of a tale that may be troublesome to adult readers. Providing children and adolescents with characters who are undisciplined leads to lively discussions. The reviewers have tried to identify some of their recent favorites to balance this issue’s theme of “Disciplining the Language Arts.”
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Štubňa, Pavol. "Sociálne a vzdelávacie funkcie (literárnych) naratív." Poznańskie Studia Slawistyczne, no. 19 (February 22, 2021): 363–77. http://dx.doi.org/10.14746/pss.2020.19.18.
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The study deals with social and educational functions of (literary) narratives – both oral and written – in everyday life of a socially grounded individual. Narratives (or stories told or read) play an essential role in building and strengthening social bonds within a community (by spending time together, informing its members of preferred social values and behaviour patterns, etc.) The author sustains that narratives circulating within a particular community (or ethnic group, nation) should be viewed and analyzed from the perspective of cultural anthropology. As an educational tool, stories are utilized not only in families and schools, but also in penitentiary and correctional institutions or in public reading courses. The author also pays attention to particular structural components of “captivating” narratives (such as novelty, surprise, cognitive and/or emotional relevance to the reader, etc.) and so-called narrative universals – themes, types of characters, plots and settings that are common to all cultures worldwide (such as romantic love, human desires and needs, sacrifice, etc.).
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Dr Kiritsinh P. Thakor. "Ruskin Bond as a writer of short stories." Creative Launcher 4, no. 4 (October 31, 2019): 18–23. http://dx.doi.org/10.53032/tcl.2019.4.4.03.
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This paper focuses on the view of ‘Ruskin Bond as writer of short stories’. In the modern age, the short stories highly impressed to the whole world. It is a highly complex form of literature and it has considered technically today, has been a very challenging form of literature. A short story is a type of prose fiction, which has grown up beside the fiction, and it has its own value and recognized place in literature today. Ruskin Bond is known internationally as one of India's most prolific writers in English for children, adults and young adults. His short stories are well-finished and integrated works of art in literature. His plots are not well constructed but his characters are appearing to be the living women and men to the nature. Most of his stories depend upon the characters and His work provides an insight or outside into universal themes such as the tension between present and past, culture elements, city life versus rural values, the dignity of ordinary folk song, preservation of the environment, and the living in harmony with nature.
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Eloeva, Fatima. "Woman at the Ball. “Anna in the Neck” by Anton Chekhov and “The Psychology of a Husband from Syros” by Emmanuel Roidis: An Attempt of Comparison." Literatūra 63, no. 2 (November 22, 2021): 54–69. http://dx.doi.org/10.15388/litera.2021.63.2.4.
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The paper presents the first attempt to compare two short stories – Anna in the Neck by Anton Chekhov and a well-known short story by the Greek author Emmanuel Roidis Psychology of a Husband from Syros. Both texts were published at the same time (in 1895) and are considered to be masterpieces. The initial motivation for such textual analysis became almost a complete coincidence between the plots of the two stories. A series of telling coincidences and contradictions observed between the analyzed stories require some kind of explanation which will allow us to view both texts from the different angle. The paper aims to determine the correlation between the writers’ biographies and the personality traits with the characteristics of the protagonists and the style of story telling.
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Halitopo, Manase H., and Napius Kogoya. "The Structure of Lanny Oral Literature: A Critical View." Journal of English Language and Pedagogy (JELPA) 2, no. 1 (May 31, 2024): 56–63. http://dx.doi.org/10.51826/jelpa.v2i1.970.
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Oral literature is a cultural expression that verbally transmits values from one generation to the next among the community supporters. This oral literature research aims at (1) presenting the stories' plots through the research's primary goal, 2) introducing the characters that appear in the story, (3) outlining the characters in the stories, (4) recognizing and explaining the settings of the stories, and 5) recognizing and defining symbols in the stories based on Yektingtyas's points of view (2016). The approach in this research incorporates literary criticism into secondary and primary qualitative data combined throughout the data collection process. The primary data were analyzed thoroughly, while the secondary data were utilized as references to analyze the primary data. The results show that Ilik was born to a mother under the shade without a father. Initially, the narrative focused solely on the character's day-to-day activities. The folks washing the pig gut rope cast away and flung the dog with the stone when he tried to devour the remaining portion. The pregnant woman and her children arrived in the village the following day to cook the raw pork they had managed to rescue. The portrait of this literary work depicts the characters’ lives and social harmony, allowing them to nurture indigenous values while learning to explore more life lessons from society.
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Zakharova, Olga. "PETER THE GREAT IN THE FOLKLORE LEGENDS OF THE 19TH — EARLY 20TH CENTURIES: PLOTS, MOTIFS, GENRE PROBLEM." Проблемы исторической поэтики 19, no. 1 (February 2021): 75–87. http://dx.doi.org/10.15393/j9.art.2021.9202.
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Peter the Great is one of the most popular characters in the folk prose of the Russian North. His sojourns in thinly populated and inaccessible places had left a noticeable mark in the people's memory. The first tales about him were written in the mid-18th century. Researchers define the genre of these works in different ways. They are classified as folklore, legends, fairy tales, anecdotes, stories about royal favors. The main motifs they contain are release from work, communication with ordinary people, treats, presenting with a caftan, coat, cloth, money, infliction and compensation for losses. They often contain the motif of Peter the Great's recognition of the enemy's superiority over himself in strength, ingenuity, resourcefulness, navigation, carpentry, making bast shoes, etc. As a rule, the plots of folklore stories are a convoluted mix of motifs from works of different genres. Some of them have magical significance: a miraculous dream, signs, the fulfillment of a prediction, the uncovering of relics, magical punishment, the petrification of Peter the Great in the monument (The Bronze Horseman), etc. A feature characteristic of folklore history is the multiplicity and ambiguity of their genre manifestations. Oral stories about Peter the Great are historically unreliable: the narrator knows a fact in the most general sense, and it is subsequently comprehended in accordance with popular ideas about power. The Tsar is recognizable as a historical person, but he acts in the genre paradigm of a cultural hero. Historical legends about Peter the Great characterize the formation and development of the folk poetic myth of a just tsar who values the common people, lives in the interests of the state, and is concerned about the future of Russia.
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Stoyanov, Stiliyan. "ACTS AND FORMS OF POPULAR LITERATURE IN BULGARIA FROM THE END OF THE 19TH AND THE BEGINNING OF THE 20TH CENTURY." Ezikov Svyat volume 21 issue 2, ezs.swu.v21i2 (May 26, 2023): 138–43. http://dx.doi.org/10.37708/ezs.swu.bg.v21i2.17.
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The article examines the manifestations of popular literature in Bulgaria from the end of the 19th and the beginning of the 20th century. It offers a commentary on the plots of those writings and some strategies to hold the reader’s attention. The primary focus is on three forms of popular culture: scary stories, fantastic stories, spiritualism, and somnambulism. The opinions of some elite Bulgarian intellectuals about popular literature, expressed in the periodical press, are discussed. The study analyzes the socio-cultural contexts in which popular literature existed in Bulgaria: a constant growth of the literacy level, formation of the elite-mass opposition, the industrialization of culture and literature in particular, and the appearance of popular literature on the pages of major newspapers and magazines. The thesis that is defended is that the popular literature of the period was based on the familiar and formulaic, rather than on creative experiment and innovation and its strategies to attracts its readers were descriptions of the exotic, the mysterious, and the construction of sentimental and melodramatic plots. The elite-mass boundary is problematized, and based on some memoirs, it is concluded that even elite intellectuals such as Simeon Radev and Alexander Balabanov or classics of Bulgarian literature like Ivan Vazov visited the theatrical-carnival manifestations of Bulgarian popular culture. Thus it seems justifiable to claim that the history of any national literature, including the Bulgarian one, would be incomplete if the forms and manifestations of popular literature were ignored.
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Arteaga Martínez, Alejandro. "El fantástico norteño de Néstor Robles." Catedral Tomada. Revista de crítica literaria latinoamericana 7, no. 12 (July 26, 2019): 252–76. http://dx.doi.org/10.5195/ct/2019.370.
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In 2017, appears the book of fantastic stories Réquiem por Tijuana, by Mexican Néstor Robles. We propose that in Robles’ fantastic plots, set in Tijuana, the idea of community is criticized and, on the contrary, the fragility of human bonds is demonstrated versus the unusual. To reach this conclusion, we place Robles first at the intersection of northern literature and fantastic literature. Second, we examine six stories where the weakness of the community isdemonstrated through fantastic facts. Finally, we link Robles’ idea of community with that of the philosophers Pelbart and Esposito, summarizing the failure of what should be an heterogeneous community as an alliance, given the finite nature of the human being.
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De Juan, Luis. "Roald Dahl’s look at the British Empire through his two short stories “Poison” and “Man from the South”." Journal of English Studies 15 (November 28, 2017): 53. http://dx.doi.org/10.18172/jes.3266.
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The aim of this paper is to analyze two of Roald Dahl’s short stories, “Poison” and “Man from the South”, beyond the classical approach to Dahl’s fiction. If Dahl’s adult fiction is most often read in terms of its extraordinary plots, as well as its macabre nature and unexpected endings, my intention is to look into both stories in the light of postcolonial studies. Not only is this approach justified on account of the setting where the stories take place, India and Jamaica, once part of the British Empire; the pertinence of such a reading is underlined by the presence of a number of elements that are commonly found in colonial travel narratives and which therefore place Dahl’s stories in relation with a very different literary tradition, colonial literature.
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Suárez, José. "Novels and Short Stories from Macau: Two Different Perspectives." Journal of Lusophone Studies 5, no. 1 (May 28, 2020): 224–37. http://dx.doi.org/10.21471/jls.v5i1.323.
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Critical studies about the Macanese and their literature in the former Portuguese colony of Macau have been scant. Novelists like Austin Coates (City of Broken Promises, 1967) from Great Britain and Henrique de Senna Fernandes (A trança feiticeira, 1993) from Macau, as well as short story writers Deolinda da Conceição (Macau) and Maria Ondina Braga (Portugal), depict life in colonial Macau. While the plots of these works display similarities, Coates’s and Braga’s perspectives are filtered through the lenses of European colonialism and Fernandes and da Conceição work through the legacy of coloniality.
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Tseng, Ming-Yu. "Multimodal figuration of product stories." Narrative Inquiry 25, no. 1 (December 31, 2015): 113–30. http://dx.doi.org/10.1075/ni.25.1.07tse.
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The product story, an emerging genre increasingly used in creative industries, introduces the product by means of storytelling. Unlike a typical personal narrative, which reports events, the product story, which usually includes one or more pictures showing the item for sale, uses the past as a resource to tell a story about a new product pertaining to human experience. This study uses the notion of multimodal figuration to characterize the co-presence of narrativity and visuality in product stories. The notion simultaneously refers to three key features of product stories which are co-produced by word and image: participants (i.e. product and human), the generation of plots, and emotionality. In the interactions between participants exists a tension between objectifying and animating forces. Two other phenomena result from the interconnections among the three senses or layers of multimodal figuration: crossing experience and creating empathy, in both of which metaphor plays a central role.
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Khronopulo, L. Yu. "The influence of Fredric W. Brown’s micro fiction on Hoshi Shin’ichi’s and Akagawa Jirō’s short-short stories." Japanese Studies in Russia, no. 2 (July 4, 2022): 95–107. http://dx.doi.org/10.55105/2500-2872-2022-2-95-107.
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The short-short story was first introduced by Japanese writer Tsuzuki Michio, who in the late 1950s – the early 1960s familiarized the Japanese reader with extra-short stories of American author Fredric W. Brown (1906–1972); his traditions were followed by Japanese writer Hoshi Shin’ichi (1926–1997), Akagawa Jirō (b. 1948), and other authors experimenting in the new genre of social and psychological science fiction, as well as in the genre of fantasy and detective stories. In American literature, three major specific features of a short-short story were formulated: 1) a fresh idea, 2) an unexpected turn of events, 3) an unpredictable ending. These specific features can be traced in Japanese extra-short stories as well. Since the process of the emergence and development of the extra-short story as a new form of Japanese literature was influenced by American micro fiction, the research examines the elements borrowed from Fredric W. Brown’s micro fiction in Hoshi Shin’ichi’s and Akagawa Jirō’s first short-short stories; this includes genres, topics, canons, artistic styles and devices, as well as the treatment of certain social problems. The paper analyzes Hoshi’s and Akagawa’s short-short fiction from a comparative perspective, with an emphasis on intertextuality – shaping of a text’s meaning by another text, in this case, the texts by an American writer. Some literary parallels to Fredric W. Brown’s micro fiction can be found in Hoshi Shin’ichi’s first collection of short-short stories «Bokko-chan» (1971), which consists of stories written in 1958–1970, as well as in Akagawa Jirō’s first collection of short-short stories «The Dancing Man» (1986), which consists of stories written in the late 1970s – early 1980s. The succession of plots and philosophical ideas by Brown is examined on the material of seven early short-shorts by Hoshi, where the allusion to the American writer’s micro fiction can be traced; in addition, it is also noted that, in some mystic extra-short stories by Akagawa, it is not the plots which are borrowed, but mostly artistic devices and various techniques, such as psychologism, black humor, wordplay, and metaphorical images. American origins of the Japanese short-short story are investigated for the first time.
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Bhattacharya, Nandini. "Maternal plots, colonialist fictions: Colonial pedagogy in Mary Martha Sherwood's children's stories." Nineteenth-Century Contexts 23, no. 3 (January 2001): 381–415. http://dx.doi.org/10.1080/08905490108583549.
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Çitaku, Muhamed. "The Influence of the Bible on Albanian Literature." Obnovljeni život 78, no. 1 (January 9, 2023): 81–91. http://dx.doi.org/10.31337/oz.78.1.6.
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Just as the Bible has had a great influence on world literature, so too has it influenced Albanian literature. The impact of this book is evident in all literary periods throughout the history of Albanian literature. Albanian authors have taken stories, characters, motifs, and themes from the Bible and have conveyed these in a variety of artistic forms. Through biblical symbols Albanian authors have expressed ideas about themselves, society, culture, and politics and have demonstrated that these symbols have different meanings in Albanian literature. They have achieved this by giving biblical stories a unique structure, modifying them partially by adding new characters and events, etc. Therefore, as a result, biblical stories and characters in Albanian literature have a new distinctive quality as compared to those in the Bible. The purpose of this study is to demonstrate the influence that the Bible has had on principal Albanian authors, as well as the peculiarities that biblical events and characters acquire in Albanian literature. The authors have used quantitative and hermeneutic analysis to help identify biblical elements in Albanian literature.
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Dao Thi Thu, Hang. "Haruki Murakami’s magical short stories." Journal of Science Social Science 66, no. 3 (August 2021): 12–19. http://dx.doi.org/10.18173/2354-1067.2021-0042.
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Murakami is one of the masters of Magical literature. In his writing, the magical world appeared in a variety of colors. As a writer who follows Poe, Kafka, Marquez, etc., Murakami has both inherited and developed magicalism to a new level. The spirit world is an important fulcrum for him to exploit the magical and fanciful elements. He has a knack for turning both the unconscious with its hidden memories and also the guilt and regret from it into magical signs. Murakami's magicality weaves both mystery and comedy. Thereby, the writer illuminates the hidden corners of the soul that in a busy life, people often forget.
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Knyazeva, A. O., and D. D. Samoilova. "An up-to-date look at the options for transforming the plot of delusional ideas (literature review)." Vestnik nevrologii, psihiatrii i nejrohirurgii (Bulletin of Neurology, Psychiatry and Neurosurgery), no. 7 (July 20, 2023): 536–40. http://dx.doi.org/10.33920/med-01-2307-06.
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The article discusses the relevance of studying the variants of transformation of stories, plots, and themes of delusional ideas in the structure of mental disorders under the influence of sociocultural factors. Delusional ideas related to the KGB activities, the Internet use, a clinical case of «delusions of coronаvirus self-contempt», and delusional ideas that arose under the influence of religious motives are given as an example.
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ELENA V., KUZNETSOVA. "GAYTO GAZDANOV'S EXPERIMENTATION IN THE STORIES OF THE 20-YEARS." HUMANITARIAN RESEARCHES 79, no. 3 (2021): 137–41. http://dx.doi.org/10.21672/1818-4936-2021-79-3-137-141.
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The poetics of the debut stories of Gazdanov is very different from the poetics of the stories of subsequent periods of his work. These differences are especially evident in composition, plot, style and bear the imprint of innovation for literature of the first half of the XX century. An analysis of the debut stories of Gazdanov allowed us to note that they are already visible elements of the aesthetics of modernism (later, postmodernism): the rejection of the traditional composition, intrigue, plot; parody, game, self-irony, etc.
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Zhirkova, Marina. "EASTER SHORT STORIES BY A. I. KUPRIN." Проблемы исторической поэтики 20, no. 1 (February 2022): 275–95. http://dx.doi.org/10.15393/j9.art.2022.10522.
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Easter motifs permeate all of Kuprin's work and reflect the trends characteristic of the development of the Easter genre in Russian literature as a whole. Early short stories point to the crisis of the genre: “Bonze” contradicts the Easter canon; irony appears in the short stories “By order”, “My passport”, “Family style”, “Grass.” They contain mandatory elements of the genre: are timed to Easter, possess a special festive mood, tenderness and emotion, and display a spiritual renewal of the characters. In some of the short stories written in 1911–1916 (“Easter Eggs”, “Holy Lies”, “Daddy”) a comic component appears: satire intensifies, and irony turns into sarcasm. Traditional Easter plots seem banal, and therefore fake and feigned, resembling a parody of the genre. In exile, the writer again turns to the Easter genre: he writes “Moscow Easter” and “Easter Bells.” The author himself craves the enlightenment and transformation that Easter brings, creativity becomes salvation, bringing light and joy to the writer who is longing far from his homeland. Memories of childhood or youth become the basis of most Easter story plots. After all, a naive and sincere belief in miracles persists in children for a long time, they very keenly experience the joy that this holiday brings with it, while adults eventually lose this childish faith in miracles, and their life-drained, hardened souls become cold and still. Memories can be different, they are not always joyful or happy, but it is the experience of these memories, the immersion in the past that creates a special festive mood and promotes spiritual purification and transformation.
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Georgakopoulou, Alexandra. "Sharing the moment as small stories." Storytelling in the Digital Age 27, no. 2 (October 6, 2017): 311–33. http://dx.doi.org/10.1075/ni.27.2.06geo.
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Abstract Sharing the moment live, a built-in logic of many social networking sites, is, I claim, an invitation for creating plots, which has led to systematic practices. I single out taking a narrative stance on Facebook as such a practice and show the interplay between key-norms and evolving media affordances for pre-selection of story ingredients, localization, visualization of the experience, and audience selection. These contribute to showing the moment as opposed to telling it, with selected friends serving as knowing co-narrators and with story-linking allowing for allusive, transmedia links. I review these practices in the context of increased story facilities that notably bring together several social media apps. I argue that although this curation promises a move beyond the moment, it ultimately serves to consolidate sharing-lives-in-the-moment. I reflect on the implications of this for the direction of travel in relation to stories on many social media platforms.
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KLINOVA, M. A., and A. V. TROFIMOV. "FREE TIME AND RECREATION OF CITIZENS IN THE VISUAL IMAGES OF THE SOVIET PRESS OF THE 1920S." History and Modern Perspectives 6, no. 1 (March 28, 2024): 89–94. http://dx.doi.org/10.33693/2658-4654-2024-6-1-89-94.
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The purpose of the study. This article analyzes the visual content of the Soviet press of the 1920s, in order to reconstruct the normative and deviant models of recreation reflected in it by the urban population of the country. Conclusions. In visual media stories, the problems of free time and recreation exist in several planes: imperative (approved, ideologically correct strategies and practices of organizing free time are broadcast); normative (examples are given indicating the «sprouts» of a new way of life); critical (deviant practices and «remnants» of the past that need to be eliminated are ridiculed and castigated). In quantitative terms, in the press of the 1920s, the plots of the first and second groups, devoted to cultural recreation of citizens in parks, libraries, theaters, etc., prevailed. The practices of deviant recreation (drunkenness, gambling, etc.), explained by pre-Soviet remnants, the difficulties of the recovery period, and the lack of education of citizens, were more often represented by anonymous plots indicating vice, but not discrediting specific citizens. The press was intended to form cultural leisure practices among citizens rather than reflect the realities of the pastime of citizens in the 1920s.
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Willsey, Kristiana. "At War with Stories: A Vernacular Critique of the Storytelling Boom from American Military Veterans." Poetics Today 43, no. 2 (June 1, 2022): 243–63. http://dx.doi.org/10.1215/03335372-9642595.
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Abstract In a post-draft era in which American civilians have grown increasingly apart from their military, veterans are urged to share their stories, to personalize distant and poorly understood conflicts—to make war meaningful. But individual veterans can't control the larger conversation in which their stories are interpreted or used. Veterans’ stories are ventriloquized by candidates in campaign rallies, recapped in late-night news monologues, retweeted by celebrities, optioned for film, and consistently cited as evidence of why we should, or shouldn't, be at war. This politically charged landscape for the telling of personal narrative (and the speed and ease with which stories circulate via mass media) creates unique challenges for veterans, who need to find meaning in their experiences for their own sakes, but resist the ready-made plots and morals imposed on them by politicians and popular culture. Caught between what Amy Shuman calls “competing promises of narrative,” veterans learn how to not tell war stories, relying on the denial or deferral of storytelling to assert small-scale meanings that resist recirculation and politicization. But to reject narrative outright is antisocial at best, and at worst pathological. Instead, the management of narrative—learning to select and edit stories for a given audience—is critical to avoiding the stigmatized identity of the traumatized veteran, who is either stubbornly silent or disturbingly voluble. Framing the withholding of narrative in positive rather than negative terms, my interlocutors stressed their need to curate the situations in which storytelling could keep its promises.
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P, Divyarupasarma. "Sitrilakiyangalil Kavadi Sindhu." International Research Journal of Tamil 3, S-1 (June 22, 2021): 234–37. http://dx.doi.org/10.34256/irjt21s137.
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Among the short stories, Pillai Tamil, Kalambakam, Sathakam, Malai, Andhadhi, etc. are divided into literary structure and song structure. Pallu, Kuravanchi, Nondi, Kuluvam, Makudi etc. are the artistic features that are found in them. Addresses, orchestras, etc., were also art literature of the time. Yet there are some as musicians in giving hints about music. Kavadi sindhu, Vazhinadai sindhu, etc. are so situated. The purpose of this study is to convey the message of music in Kavadi sindhu based on the idea that everything gives an idea about music.
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Romanova, Galina I., and Kristina V. Rizayeva. "GENRE SPECIFICITY OF MIKHAIL ALBOV’S DILOGY “OF PEOPLE «IN SEARCH OF THE CITY»”." Vestnik of Kostroma State University, no. 2 (2020): 145–50. http://dx.doi.org/10.34216/1998-0817-2020-26-2-145-150.
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Genre specifi cs of the stories «Lyol’ka’s Upbringing» and «A Day in the Vastness of Nature» by Mikhail Albov is considered. Historical-typological analysis of both works is given. Chronotope, type of plots, features of speech organisation in both stories, which are considered as a dilogy, are analysed. The overview characteristic of the existence of the genre of story in the Russian literary process is given, the exclusive affi liation of story genre to Russian literature is noted. Literary trends of the late 19th century are marked, the signifi cant role of the story genre in Russian literature in the 2nd half of the 19th century is indicated. Two traditions in determining the specifi cs of the story genre – by formal features and by meaningful characteristics - are noted. Mikhail Albov’s works general specifi city - the static character of heroes when repeatedly using the same names and life stories of characters in different works of the writer – is presented. The story «Lyol’ka’s Upbringing» by Mikhail Albov is characterised as storytelling traditional one for literature about suffering children, a conclusion about the writer’s creative perception of Fyodor Dostoevsky’s works is made. The story «A Day in the Vastness of Nature» by Mikhail Albov is defi ned as one unrelated to the story «Lyol’ka’s Upbringing» by plot. The article proves that the stories constitute a dilogy. Prevalence of psychology in portraying heroines of both stories is noted; the genre invariant of a story, characteristic of belles lettres of the last third of the 19th century, is identified.
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Hopkins, Lisa. "John Ford’s Strange Truth." Critical Survey 34, no. 2 (March 1, 2022): 93–104. http://dx.doi.org/10.3167/cs.2022.340208.
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From the 1620s to the 1630s, John Ford revisited Shakespeare and made him strange. ’Tis Pity She’s a Whore inverts Romeo and Juliet by making its core relationship endogamous rather than exogamous. Perkin Warbeck is a sequel to Richard III, but undoes its original by telling a story fundamentally incompatible with Shakespeare’s. The Lover’s Melancholy echoes both Twelfth Night and King Lear, collapsing the distinction between comedy and tragedy. Above all, Ford reworks Othello, which lies behind the plots of four of his plays. The estranging effect produced by these reshapings is underlined by Perkin Warbeck’s subtitle ‘A Strange Truth’ and the word ‘strange’ appears forty-nine times in his plays. Ford uses familiar Shakespearean stories to highlight the strangeness of the stories which he himself tells.
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Demidova, Olga R. "The paradigm of femininity in the prose of Augusta Damanskaya." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 82–88. http://dx.doi.org/10.20339/phs.5-22.082.
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The article treats the invariant female characters’ paradigm presented in short stories written by the forgotten Russian first wave émigré writer A. Damanskaya and included in her first four collections published before emigration, in the 1900–1910s. Relying on gender methodology, the author of the article carries out a detailed textual analysis singling out two basic structural oppositions of the stories, i.e., the “male female” and the “traditional heroine — “new” heroine” ones. The analysis makes it possible to define the heroines’ characteristic features as well as the main plot lines and collisions as the frame for their comparison and juxtaposition. Besides, the author treats Damasnkaya’s prose as part of Russian literature of the time, comparing a number of themes and plot collisions present in both Damanskaya’s short stories and in male prose of the period to highlight Damanskaya’s original way of treating well-known plots and characters.
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Faisal Raheem, Amna, Sabreena Shah, and Nayab Asif Memon. "Translation of Literature as a Tool to Enrich Target Language Literature." Technium Social Sciences Journal 30 (April 9, 2022): 694–703. http://dx.doi.org/10.47577/tssj.v30i1.6187.
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Translation of literature is the translation of literary art forms such as poetry, novels, dramas, short stories, films etc. The mainstream critiques of translation looked down upon the translation of literature. Translation of literature is often considered as artificial. However, on the bright side, translation of literature can be seen as a positive phenomenon. It is not just a mechanical task; rather it is a process of new creation. Translation of literature is a work of art. A skilled translator is a gem, who can add many new aspects to the translated literature. This article analyses the translation of Arabic poem and the translation of the story of Ali Baba and forty thieves to explain that the translation of literature is a tool to enrich target language literature.
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Artemiev, M. A. "Hebel and Tolstoy. Towards the problem of the characteristic genre features of Leo Tolstoy's stories for children." Voprosy literatury, no. 2 (June 17, 2021): 76–82. http://dx.doi.org/10.31425/0042-8795-2021-2-76-82.
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The article considers a possible influence of J. P. Hebel's works on Leo Tolstoy's stories for children. The author compares and contrasts the two writer's approaches to their genre of choice: the didactic, and entertaining literature. Noted are matching plots used by both, as well as stylistic and narrative differences. The scholar elaborates on the extent to which Tolstoy was familiar with Hebel's works and examines Tolstoy's ‘stories for children' in comparison with the religious and moralistic ‘stories for the people' he produced in later life. His works for younger audiences could have only resulted from Tolstoy's artistic assimilation of Hebel's experience. They are viewed as a sequel to the Treasure Chest of the Family Friend from the Rhine [Schatzkastlein des rheinischen Hausfreundes] inspired by Russian realia. The article describes the ways in which Tolstoy further developed the traditions of the ‘calendar/almanac stories.' Hebel's Russia-themed works are analysed in the context of Russo-German literary ties since the German writer followed Russian events with keen interest.
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Caracciolo, Marco. "Yanna B. Popova, Stories, Meaning, and Experience: Narrativity and Enaction." English Text Construction 9, no. 2 (November 11, 2016): 326–30. http://dx.doi.org/10.1075/etc.9.2.07car.
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Leli, Delfa, Elvina A. Saibi, and Uli Wahyuni. "Kontribusi Minat Baca Sastra dan Penguasaan Konsep Cerpen terhadap Keterampilan Menulis Cerpen Siswa Kelas X SMK 1 Tanah Datar." Jurnal Ilmiah Dikdaya 13, no. 2 (October 3, 2023): 394. http://dx.doi.org/10.33087/dikdaya.v13i2.506.
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Interest in reading literature reflects students' interest in literary works, including short stories, which can influence their motivation and dedication in understanding and producing literary works. Mastery of short story concepts refers to students' in-depth understanding of short story elements such as character, plot, setting, theme and language style. The aims of this research are: (1) the large contribution of interest in reading literature to students' short story writing skills, (2) the large contribution of mastery of short story concepts to students' short story writing skills, and (3) the large contribution of interest in reading literature and mastery of short story concepts to writing skills short story by class X students of SMK N 1 Tanah Datar. This research uses quantitative methods involving students from various levels of education. Data regarding interest in reading literature is measured through questionnaires and test results regarding mastery of short story concepts from short story analysis given to students. Next, short story writing skills are measured through a writing test. Data were analyzed using the Pearson Product Moment (PPM) correlation test, multiple correlation test, t test, F test, and the determinant coefficient formula to determine the contribution of the independent variable to the dependent variable, both individually and together. Research results shows that a high interest in reading literature contributes to better mastery of short story concepts. Students who have a high interest in reading literature tend to be more enthusiastic about short stories, identify short story elements better, and understand the concept and purpose of short story writing. Apart from that, good mastery of short story concepts also has a positive effect on students' short story writing skills. Students who have a strong understanding of the elements of short stories have a better ability to design interesting plots, develop in-depth characters, and compose short stories with good cohesion and coherence.
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Konstantinova, N. S. "Ages, Stories, Styles." Concept: philosophy, religion, culture 7, no. 3 (September 30, 2023): 137–41. http://dx.doi.org/10.24833/2541-8831-2023-3-27-137-141.
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The contents of the next collection of the Institute of Art Studies from the series Problems of Ibero-American Art involuntarily invokes a premonition of a fascinating journey through different eras and subjects of Spanish culture: theatre, music, fine arts, social philosophy, literature of the Golden Age... The collection opens with an article by Vidas Sulinas, an expert on classical Spanish theatre. The author examines the time period from the last third of the 16th century to the beginning of the 18th century, tracing the change of three artistic styles — Renaissance, Mannerism and Baroque — using the example of the work of three classics of Spanish drama. To introduce readers to these works, the author gives brief reviews of the plots: at the heart of them is love, its mysteries, virtues and trials. The article raises a number of eternal problems of existence, including good and evil, reality and imagination and, finally, the eternally relevant motif of the artist and power. The second article written by Irina Kryazheva is devoted to the study of court musicians of Medieval Spain. The task is by no means simple, given the small number of sources. Their identification and subsequent scrupulous study are one of the undoubted advantages of the text. In the next article on percussion instruments of the Renaissance Spain, Maria Moiseeva recreates the widest palette of musical instruments of the era with their description and classification. Particular attention is paid to fruitful interaction between the European and Arab worlds. Denis Fedosov creates a voluminous canvas of church life in Catholic Spain through describing retablo as the center of artistic composition of a Spanish temple. These and other articles written by specialists make allowance for amateurs and welcome new readers. Overall, the collection turned out to be successful. First of all, due to the selection of authors. It is written professionally, which means it will be of interest to professionals, and for the same reason, along with the variety of content, it is also interesting for a wider audience.
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Kruszyńska, Elżbieta. "Jasna, promienna i optymistyczna – o wartościach opowiadań Zofii Żurakowskiej." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova, no. 5 (December 31, 2020): 239. http://dx.doi.org/10.17951/en.2020.5.239-250.
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The article describes selected short stories of Zofia Żurakowska in the aspect of virtues which are present in them. Although the writer’s private life was rather stormy she could maintain optimistic attitude and faith in human being, what is reflected in her literary work dedicated for children and youth. She was undertaking in her short stories important social and moral issues. The most important values present in her literary work are: freedom, independence, tolerance, kindness, love. The writer was putting her characters in the complicated, dramatic situations, minding that they always were able to act in the name of good. Uniqueness of Żurakowska’s literature consists in the fact that she was a groundbreaker introducing detective and criminal plots. Despite the changing world the virtues present in Żurakowska’s literature remain fresh and valid up-to-date. The language of her books has also not lost its relevance – it is clear, understandable and easy.
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Askarova, А. Sh, and K. S. Kulmanov. "Mystical motives in Kazakh stories." Bulletin of L.N. Gumilyov Eurasian National University PHILOLOGY Series 145, no. 4 (2023): 109–20. http://dx.doi.org/10.32523/2616-678x-2023-145-4-109-120.
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The article is devoted to the analysis of mystical motives in Kazakh stories. The author, on the basis of comparative historical, hermeneutic, historical and functional principles, explored the features of the use of mystical motifs in small genres of modern Kazakh prose - in stories. The study is based on world and domestic literary samples, their origins, evolution and modern transformation are consistently shown. The bases of irrational knowledge - the systems of mythical, esoteric, religious exploration of the world - are analyzed, the mystical motives related to them are investigated. As a distinctive feature of Kazakh mystical motifs, it was suggested that its origins lie in the rites of Tengrian knowledge and MuslimSufi traditions. Mystical motifs in the stories of Kazakh writers of the 20th century and the beginning of the 21st century were studied, their typology, features, methods were determined. In addition, the article reveals the general nature and essence of mysticism through the description of mystical lines in Kazakh and foreign works. Considering the connection of mysticism with literature, its artistic activity was determined on the basis of Kazakh stories. The activity of the mystical method was revealed in the stories of Oralkhan Bokey, Mukhtar Magauin, Nurgali Oraz, Koishybek Mubarak, which describe the Kazakh society, human psychology, human destiny. Based on a comparison with foreign works, a peculiar conclusion was made about the similarity of the general idea and the transition of mystical plots.
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Perepelkina, Elena Petrovna, and Ekaterina Romanovna Yakimova. "Transformation and synthesis of mythological plots and images in the modern Chuvash dramatic fairy tale." Philology. Issues of Theory and Practice 17, no. 2 (February 13, 2024): 395–400. http://dx.doi.org/10.30853/phil20240054.
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The research aims to identify changes in mythological plots and images in modern Chuvash fairy-tale plays for children. The paper analyzes fairy-tale plays by Iosif Trer, Olga Turgay, and Elen Narby. As the genre background, the plots of fairy tales by Konstantin Ivanov, Efim Nikitin, and Mikhail Yukhma are considered. The paper is novel in that it is the first in Chuvash literary studies to analyze the characters and plots of modern stage fairy tales the heroes of which are mythological figures and which include story-lines from national folklore. The research findings showed that folklore is a rich cultural source for modern Chuvash literature. Ancient mythological plots and images, transforming and adapting to modern realities, receive a new interpretation, retain their relevance and acquire a different meaning. Using the motif of the hero’s disappearance and of his loved ones (bride, wife, father, etc.) looking for him, the authors created dozens of stage fairy tales. They present the ancient Chuvash mythological images of Pyulekhse, Esrel, Kiremet, etc., which are close to today’s life. Mythological plots, having received a new literary manifestation, are being revived on the modern stage.
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S, Santhi. "Tribal Peoples' Life Values in the Novel "Aathangarai Oram"." International Research Journal of Tamil 4, S-9 (July 27, 2022): 14–19. http://dx.doi.org/10.34256/irjt22s93.
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Literature has been subject to change from time to time, from the Sangam period to this period. People's taste, time, environment, politics, etc. are the reasons for that. Such changing literary forms are called fiction literature. Short stories and novels, which highlight people's beliefs, language, religion, life, culture, etc., belong to this type. The purpose of this study is to highlight the life values of the tribal people who have been included in the novel 'Athangarai Oram', written by V. Irai Anbu I.A.S., a multi faceted personality, who has made a footprint on various platforms like short stories, novels, youth books, essay collection books, question and answer books, and English books. There is a tendency these days to consider polished looks and tongue-in-cheek English fashionable. Apart from that, the interests of the tribal people, who have a childlike mind, a mind that loves the soil and considers the suffering of others as their own suffering, and the fighting spirit of fighting to protect it, are to be explored through this article.
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Chesnokova, E. V. "Understanding of the stories “The Mermaid” by Ales’ Kazhadub and “The Siren” by Giuseppe Tomasi di Lampeduza from the position of the theory of archetypes." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 68, no. 3 (July 28, 2023): 229–47. http://dx.doi.org/10.29235/2524-2369-2023-68-3-229-247.
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The article analyzes the stories “The Mermaid” by the Belarusian writer Ales’ Kazhadub and “The Siren” by the Italian writer Giuseppe Tomasi di Lampedusa for the purpose of revealing in them the character of the archetypal basis, distinctive genre-thematic and artistic-visual features. A comprehensive approach to the analysis of the literary works was provided by such methods as mythopoetic, hermeneutic, cultural-historical and comparative. The writers embodied the archetype of the Great Mother in the images of chthonic creatures (a siren and a mermaid). A consistent analysis of the images and plots of the stories made it possible to define a circle of universal images that made up the “archetypal core” of the given works (the Hero/the Child/the Warrior, the Shadow, the Leader/the Wise, the Lover (or one who is capable of love), the Journey, etc.), and also to clarify the features of their genres, to trace the influence of artistic methods on the character of the characters and certain development of the plot lines.
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Warnes, Jan, and Anna Daiches. "‘Rebuilding after the storm’." Narrative Inquiry 21, no. 1 (September 30, 2011): 109–29. http://dx.doi.org/10.1075/ni.21.1.06war.
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This research aimed to listen, and make sense of, stories of young motherhood from the perspectives of two cohorts: ‘mothers of young mothers’ and ‘young mothers’, and to explore how shared stories of motherhood were constructed in particular social, interpersonal and cultural contexts. A narrative approach was taken to the interviews and analysis. Twelve women were invited to ‘tell their story’ about becoming and being a mother and a mother of a young mother. There were a number of shared plots as well as diversities across and within cohorts, with three acts resembling a series of progressive and regressive phases: (1) derailment; (2) a bumpy, terrifying and fun ride, full of surprises; (3) coming to terms with reality: better equipped for the future. Located within personal stories were key cultural narratives which demonstrated how mothers’ individual experiences were informed by societal expectations. The contribution of these narratives to existing theoretical literature; wider clinical implications; the political context; and future research are discussed. The process of conducting this research has clearly illustrated the power, diversity, and authenticity of listening to mothers’ stories at different stages of their mothering journey.
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Pergher, Alizon. "La construction du sentiment moral dans les romans contemporains pour la jeunesse Le Chagrin du roi mort et Le Combat d’hiver de Jean-Claude Mourlevat." Romanica Silesiana 19, no. 1 (June 29, 2021): 42–57. http://dx.doi.org/10.31261/rs.2021.19.04.
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In the past, literature for children and adolescents reflected society’s belief that young readers were not supposed to think for themselves. Stories were vehicles to provide direct, simple moral lessons. Those moralistic books reinforced gender and good / evil tropes, leaving little room for interpretation, moral grey areas and non-traditional gender roles. In this paper, we examine two contemporary books, Le Combat d’hiver (2006) et Le Chagrin du roi mort (2009), as examples of how youth literature has evolved. In both books, readers are presented with complex characters, plots and themes that encourage personal reflection. Morals are not something to be taught but rather felt.