Journal articles on the topic 'Litterateurs in literature'

Literature conveys human ideas, thoughts, emotions, feelings and experiences artistically. The use of distinctive grammatical, semantic, and stylistic conventions make the language of literature a field-based register. Based on these presumptions, this article aims to elucidate the deviant features that are prevalent in the literary texts. To obtain the objective, I have employed qualitative content analysis that calls for interpreting the extracts from the authentic literary discourses. The main findings are related to the five-fold features such as grammatical, semantic/lexical, graphological, prosodic, and ornamental, which create markedness of the literary register. These findings reveal that the litterateurs use figures of speech to beautify the presentation of feelings and ideas. This implies that the readers, the writers, and the material producers (like curriculum designers and textbook writers) should be aware of the marked features of the literary texts.

The release of the newest anthology of macabre short stories “Вбивство на вулиці...” (2019) affirmed the superb state of homebred horror literature. The aim of this paper is to analyze and evaluate the seventeen stories that form the aforementioned anthology. Analysis of the anthology has proven that despite a few creative shortcomings of young litterateurs, the “Вбивство на вулиці...” anthology maintains a high level of quality and deserves to be called a bestseller.

AbstractThe consolidation of the Delhi Sultanate coincided with the Mongol devastation of Transoxiana, Iran and Afghanistan. This paper studies the Persian literature of the thirteenth and fourteenth centuries invested as it was in the projection of the court of the Delhi Sultans as the ‘sanctuary of Islam’, where the Muslim community was safe from the marauding infidel Mongols. The binaries on which the qualities of the accursed Mongols and the monolithic Muslim community were framed ignored the fact that a large number of Sultanate elites and monarchs were of Turkish/Mongol ethnicity or had a history of prior service in their armed contingents. While drawing attention to the narrative strategies deployed by Sultanate chroniclers to obscure the humble frontier origins of its lords and masters, my paper also elaborates on steppe traditions and rituals prevalent in early-fourteenth-century Delhi. All of these underlined the heterogeneity of Muslim Sultanate society and politics in the capital, a complexity that the Persian litterateurs were loath to acknowledge in their records.

Despite the tense geopolitical situation in interwar Eastern Europe, Ukrainian litterateurs at first elided the physical and ideological boundaries guarded by state authorities on either side of the Polish-Soviet border. Cultural leaders on the far right and far left, separated by a chasm of fear and loathing, nevertheless read andresponded to one another’s works. In some cases, representatives of the two sides shared common influences, beliefs, and aesthetic ideals, and even took the risk of signalling their admiration for the theories and creative accomplishments of sworn enemies in the opposing camp, favourably invoking “foreigners” to serve opposing agendas. Amid the relative openness, fluidity, and experimentalism that characterised the first (i.e. pre-Stalinist) half of the interwar period in Ukraine, few regarded nationalism and socialism, or even Bolshevism, as mutually exclusive concepts. Rather, there were synergies and points of contact between the two. Examining the public interaction of the Communist writer Mykola Khvyl’ovyy (1893–1933) and the nationalist literary critic Dmytro Dontsov (1883–1973), I argue that the Ukrainian cultural and political ferment of the 1920s was transgressive in two senses. Firstly, it cut across the political boundaries of party membership and citizenship that divided Ukrainians into Soviet and non-Soviet, socialist and nationalist. Secondly, it defied expectations of ideological purity and loyalty at a time of growing but not yet insurmountable hostility. The result was a symbiosis of right and left-wing agitation, in both Soviet Ukraine and south-eastern Poland, for a revolutionary, anticolonial, and modernist Ukrainian literature.

The work of I. Turgenev was translated into Chinese in the first half of the twentieth century and later spread widely in China, having a great influence on the new generation of Chinese writers. At the same time, more and more literary critics began to study the works of Turgenev. Extensive research and analysis, as well as the study of works from different angles, contributed to a better understanding of Turgenev and Russian literature by Chinese readers. The article discusses the publications of Chinese litterateurs and critics from the second half of the 20th to beginning of the 21st century, the work of Ivan Sergeevich Turgenev, notes the enduring interest of the Chinese audience to the work of Russian prose writer, in particular, to the novel “Rudin”. Special attention is paid to the prose writer's “path” to the novel; it is proved that the high interest of scientists to Dmitry Rudin, the protagonist of this novel, caused by Chinese specifics and the relevance of many problems associated with this image. The article explains the evolution of the attitude of the Chinese to Rudin: from agreement with Russian researchers considering him as a superfl person to disagreement with them. At the same time, Rudin is compared with typically similar images in Chinese literature. An analysis of Turgenev's works by Chinese literary critics will provide detailed information for future studies in international literary circles, and can also lay the foundation for finding differences between Chinese and Russian literary criticism.

Sarah’s novel is a unique masterpiece of an author dubbed as Imlaq al-'Arab (The Giant), ‘Abbas Mahmud al-‘Aqqad. This novel is unique because it is the only of his work written in the form of novels among his works. It's pretty awesome because al-'Aqqad has written about 83 books in various fields of science and 10 anthologies of poetries. The presence of this novel provokes some responses of various groups of litterateurs, writers, and readers, either a positive or a negative response, particularly when it is associated with al-‘Aqqad’s side of life as well as the condition of society in his time of life. To review this novel, the author uses the Reception Theory in Literature. The theory emphasizes the reader's reception of a literary text as an important factor in the interpretation of literature. In fact, the reader as interpreter presents diversity of meaning in accordance with the Horizon of Expectations as Hans Robert Jauss said. In addition, the diversity of reader reception is also based on characters of literature itself. It always presents 'open plek' according to Walfgang Iser. It will be filled and solidified differently by the readers. The method used is the Critical Approach that aims to discuss the reception developments of review, criticism, commentary, analysis, or other forms of research such as graduating papers, theses, and dissertations. Reader’s reception toward the novel of Sarah published in1964 up to 2005 shows on three receptions feature. First, the novel is supposed as a novel presenting the women's psychological analysis. Second, Sa>rah novel is as an autobiographical novel that describes the author's love story. Third, Sarah novel is a realist novel depicting the reality of class conflict and describing the attitude of women leaders and scholars of Egypt in facing of modernization.

According to litterateurs, literature is the reflection of social picture and human life. In this sense, it can be expressed that Ecology, Society, and Life are deeply interconnected each other. With the passage of time, ecological and social life is dealt with literature through which happiness and sorrow, - laughter, sob, and complexity of human life get entangled in a single thread. In the justice of literature, the balance of woe is much more than that of weal in human life. Manik Bandopadhyay was a radical minded litterateur of his times. His treatment of human life and humanity for the poor of the poorest is purely and acutely presented in his literary genres. The core philosophy of human life makes the novelist a universal thinker and legendary figure for all ages. He has observed human life and literature as an essential part of environment. Keeping touch in contact with environment, each and every male and female character of the novelist has enabled to accept the reality of life. Manik’s globally well-reputed novel, Padma Nadir Majhi, is the glaring example of reality of human life. In the context of ecology, this novel is the embodiment of pessimistic attitudes of the middle class society and the subaltern of 20th-century riverine country, like Bangladesh. Kuber, Kopila, and Hossen Miah are the central characters of the whole realistic novel, who are the symbol of reality of life. Thus the writer has apparently presented the pitiable and miserable condition of the boatmen who live very near by the bank of the Mighty Padma. All boatmen have to rely upon the mercy of the Padma; sometimes the mighty river grasps and devours the lives of the poor communities when the tidal waves blow during the rainy season. The 20th-century novelist has unveiled the neglected, helpless, and, above all, the deprived communities of basic human demands as reflected in the novel, Padma Nadir Majhi. In the novel, Manik wants to emphasize upon the fact that nobody comes to write their history. ‘They have to sweat on the dust of the way all the day and night.’—The writer has drawn a grim image of weal and woe, - sniffles and sobs- and sorrow and happiness of the middle class downtrodden people of the age. In fact, he has focused upon the livelihood of boatmen as well as fishermen with his own sympathy and affection with a view to signifying his contemporary social system as well as life-structure of the poor. For life and livelihood, all boatmen have to endure all sorts of complexities of life through living in the darkness of ecology. They hardly hope to see the radiant future of life, because they are victim of environment and circumstance. As a social reformer and an observer of human life, Manik has enabled to find out the environmental perfect image of the boatmen to 21st-century audiences. For this purpose, this study would like to examine social picture, environmental crisis, and complexities of human life in the light of literary judgment. It aims to look at the origin of ecocriticism, the theoretical framework of ecocriticism made by very recent critics and scholars. There is a bond between environment and literature as briefly discussed in this study. It attempts to look at Manik as a social and environmental novelist. Finally, it would like to shed a new light upon 20th-century social picture and livelihood of boatmen and fishermen of the Mighty Padma.

<em>The term, “empowerment” is undoubtedly a debating issue to many critics, scholars, politicians, academicians, practitioners, feminists, researchers, and litterateurs around the world; it is difficult to define in a practical sense. This study would like to apply this term with a view to empowering Bangladesh’s female teachers. And, the term, “empowerment” would be connected with women empowerment in the Bangladesh Perspective to clarify the discussion of this study. Truly speaking, Ibsen’s A Doll’s House bears the everlasting testimony of a feminist play around the planet. Though Ibsen’s outstanding creation of Nora’s character is still a globally controversial question, but to womankind, she is regarded as a model of freedom, power, and protect. In Bangladeshi colleges and universities, the participation of women is on the increase day by day across the country. Many of them are keenly interested in teaching profession, especially Bengali and English literature. It is interesting to note that many female teachers are very much eager to teach and carry out their scientific research project on A Doll’s House in the light of Bangladesh. They would like to find out an innovative and potential aspect of contemporary women’s issues differently through an epoch making creation of Ibsen’s female character, Nora. Some of female teachers regard Nora as an inspiration of women empowerment in the Bangladesh perspective. They have a popular notion that Nora is not only for the Scandinavian women, but also for Bangladeshi. In this regard, the researcher would like to frame Nora as a pioneer of women empowerment to Bangladeshi female teachers. Moreover, this study would like to examine how Ibsen’s A Doll’s House is now being evaluated, learnt, and taught in the Bangladeshi colleges and universities.</em>

English: Yashpal's literature is an expression of revolutionary sentiments and ideas. His literature is placed on the ground of reality, in which the struggle of generations and the interruption of social life is highlighted. Being a true Marxist litterateur, he is an advocate of the "Art for Life". He successfully ran his pen in all the disciplines of literature such as story, novel, montage, travelogue, translation, essay. Yashpal is the second revolutionary novelist after Premchand. His major novels are 'Dada Comrade', 'Deshadrohi', 'Divya', 'Party Comrade', 'Man's Form', 'Anita', 'Jhutha-Sach', 'Twelve Hours' and 'Why How'? . Hindi: यषपाल का साहित्य क्रांतिकारी भावों और विचारों का अभिव्यक्त रूप है । उनका साहित्य यथार्थ की धरती पर रखा गया है, जिसमें पीढ़ियों का संघर्ष और सामाजिक जीवन का अन्तर्द्धन्द्ध मुखरित है । एक सषक्त माक्र्सवादी साहित्यकार होने के नाते वे ‘‘कला जीवनके लिए” मत के समर्थक हैं । उन्होनें साहित्य की सभी विधाओं जैसे कहानी, उपन्यास, एकांकी, यात्रावर्णन, अनुवाद, निबन्ध में अपनी कलम सफलतापूर्वक चलायी । प्रेमचन्द के उपरांत यषपाल ही दूसरे क्रांतिकारी उपन्यासकार हैं। ‘दादा कामरेड’, ’देषद्रोही’, ’दिव्या’, ‘पार्टी कामरेड’, ‘मनुष्य के रूप’, ‘अनिता’, ‘झुठा-सच’, ‘बारह घंटे’ तथा ‘क्यों कैसे’?, आदि उनके प्रमुख उपन्यास हैं ।

<p>يخضع الأديب في تكوين شخصيته الأدبية لكثير من المؤثرات البيئية والاجتماعية والثقافية والعقدية والاقتصادية والسياسية، كما ينطلق في مزاولة فنه الأدبي من خلال المكونات التي أثرت فيه والخبرات التي حنكته. الأمر الذي يضطره في كثير من الأحايين إلى اتخاذ فكرة من الفكر أو مبدأ من المبادئ أو معتقد من المعتقدات يلتزم به فيما ينتجه من الآداب، لا يحيد عنه ولا يخالفه، بل قد يجاهد مدافعا عنه. وبهذا صارت قضية الالتزام في الأعمال الأدبية مما لا بد منه للأدباء، سواء شعروا بذلك أم لم يشعروا به، لكن الالتزام يختلف من أديب إلى آخر ومن مذهب إلى مذهب. ففي الحين الذي يتسم الالتزام في بعض المذاهب الأدبية بالإلزام والإكراه نجده لدى البعض يتحدد بالإقناع والطواعية. فالبحث محاولة إعطاء فكرة عامة عما ينتظر من أديب مسلم في إنتاجاته الأدبية، وذلك أن تكون أفكاره انعكاسا لمفهوم الإسلام وتصوره، وقد ناقش البحث الجوانب التالية: مفهوم الالتزام في الأدب والتزام الأديب المسلم وتصوره للخالق والإنسان والكون والحياة كما نظر في موقف الإسلام من العلاقة بين الجنسين. واستنتجت الدراسة أن نظرة الأديب المسلم في فنه الأدبي متسم بالالتزام الإسلامي الشامل في كل ما يكتب فيه من المواضع، وهو يشعر في التزامه هذا بالإقناع والنشوة، كما يجعل في حسبانه أن عمله الأدبي مما يحاسب عليه أمام خالقه، فلم يكن مغترا يوما بحرية مزعومة عند بعض الأدباء حتى يخوض فيما يحرم عليه من الأقوال والأفكار.</p><p><br /><em>A litterateur (a person who is knowledgeable about literature) is made of different societal influences such as social, religious, economic, and politic. He is merely a reflection of his background, which is why in most cases, when he writes he seems to be committed to certain belief, ideology, and group. Thus, the issue of commitment to a certain belief, ideology can not be out-ruled in literary work. Commitment differs from one individual to another. It is characterized with force or choice and appreciation in accordance to differed school of thought (mazhab). This research gives a general out-look of what is expected of a Muslim persona in his writing or works. To achieve this objective, the study focuses on the following; the term commitment in literary work, commitment of a Muslim litterateur, his view about Allah, man, life, and the entire world. The findings of this study reveal that a Muslim litterateur is committed to Islamic values in his works and shows satisfaction and with such values attached he never writes against the Islamic teachings by hiding under so called freedom of speech.</em></p>

AbstractHistorically, the siyar šaʿbiyya (sing. sīra) corpus—a collection of popular, orally-performed Arabic chivalric legends—have been cast as being outside of the ambit of adab (belles-lettres). Rather, scholars and critics both classical and modern have tended to regard them as tall tales and pseudo-histories. In closing his 1887 Judeo-Arabic edition of Sīrat Sayf b. Ḏī Yazan (Sīrat al-azaliyya), the Tunisian-Jewish litterateur Rabbi Eliezer (Lazarro) Farḥī provides a seven-point list detailing the practical benefits of reading a sīra. In doing so, he opens a different pathway for approaching the text, in the manner of a mirror-for-princes. Examining Farḥī’s framework in its historical context as well as with reference to scholarship on other popular works such as the 1001 Nights and on the nature of adab and wisdom literature, I offer a model for re-envisioning the sīras as principally didactic texts, rather than sources for entertainment. This I do in accordance with the terms of the sīras’ fin-de-siècle publisher, who casts them as a mirror for the modern Jewish man aspiring to keep apace with life in French colonial Tunis. I conclude not only that Farḥī’s approach to the sīra was likely widespread, but that his work testifies to sustained interest among Jewish audiences in the sīras into modern times, making this minority group’s use of these texts integral to the sīras’ diachronic reception history.

There is a close interplay of literature and painting. Through both, the deep objectives of life are fulfilled. If the words of a litterateur can elicit our feeling, then the lines and colors inscribed from the painter's paint also have a wonderful power to touch the soft side of our heart. Both poets and painters create beauty through their art talent. The beauty of words in poetry and the color and lines in pictures is present. साहित्य और चित्रकला का पारस्परिक घनिष्ठ अंतर्सबंध है। दोनो के माध्यम से जीवन के गहन उद्देष्यों की पूर्ति होती है। साहित्यकार के शब्द यदि हमारी भावना को उद्वेलित कर सकते हैं तो चित्रकार की तूलिका से अंकित रेखाएं और रंग भी हमारे हृदय के कोमल पक्ष को छूने की अद्भुत शक्ति लिए होते हैं। कवि और चित्रकार दोनो ही अपनी कला प्रतिभा के जरिये सौंदर्य रचना करते हैं। कविता में शब्दों का तथा चित्रों में रंग और रेखाओं का सौंदर्य मौजूद रहता है।1 एक कुषल चित्रकार की भाँति साहित्यकार भी शब्दों के माध्यम से सुंदर बिंब एवं रंग संयोजन प्रस्तुत करता है।

<p>The development and spread of Arabic literary works cannot be separated from the founder and its figures both from Arabic spoken-country and non-Arabic one. Syaikh Adam Abdullah al Ilori is one of the figures in Nigeria that has significant role in spreading Arabic literary works and at once educating the next generation as litterateur and the expert of Arabic literature in Nigeria. In line with the aim, there are five strategies developed by Syaikh Adam al Ilori; 1) memorization, b) direct teaching of Arabic literary works, c) teaching the principles of <em>aruud</em>, d) training to create the Arabic poems, and e) holding competition to encourage young poets. These five strategies are effective to be applied in Nigeria in aiming for spreading Arabic literature and creating the expert of it so that many writers were born in Nigeria such as Abu Bakar Umar, Roji Suliman, Abdul Baqi Syuaib, and many more.</p><p> </p><p>Perkembangan dan penyebaran karya sastra Arab tidak bisa dilepaskan dari para pelopor dan para tokohnya baik dari negara Arab sendiri maupun dari negara non Arab. Syaikh Adam Abdullah al Ilori adalah salah satu tokoh sastra Arab di Nigeria yang punya peran signifikan dalam penyebaran karya sastra Arab dan sekaligus mencetak generasi penerus sebagai sastrawan dan ahli di bidang sastra Arab di Nigeria. Dalam membentuk generasi sastrawan di bidang sastra Arab (syair), ada lima startegi yang dikembangkan Syaikh Adam al Ilori, yaitu a) dengan cara hafalan, b) mengajarkan karya-karya sastra Arab, c) mengajarkan kaidah-kaidah aruud, d) melatih membuat syair-syair Arab, e) mengadakan kontes-kontes pada momen-momen penting sebagai ajang kreativitas para penyair muda. Lima strategi ini sangat efektif digunakan di Nigeria dalam menyebarkan karya sastra Arab dan membentuk generasi yang ahli di bidang sastra Arab sehingga telah banyak melahirkan sastrawan-sastrawan di Nigeria yang ahli di bidang sastra Arab seperti: Abu Bakar Umar, Roji Suliman, Abdul Baqi Syuaib, dan lain sebagainya.</p>

The paper describes the essence of I. Franko’s prose as a psycho-onthological and socio-cultural phenomenon, that took a long time to be created and appeared due to many factors of the writer’s spiritual life: the tireless hard work, the desire to be a highly educated person and reach the broadest possible range of human interests in his activity, constant refi nement of literary taste, etc. In the realm of prose the writer worked for over 40 years (which is symbolical!), starting from the 1871/1872 school year, when he wrote school tasks for the teachers of literature, till 1913. During this time the writer wrote 10 novels and tales and about half a hundred works of short prose (stories of different kinds, essays, fairy tales, etc.). Thus, Franko perceived his writing as a manifestation of the internal need of labor, which could enable a wide range of people to get accustomed to intellectual work. In his creative work Franko saw a clear goal, which he directed to the future, imagining it to be a soil which would give a generous crop. Franko considered himself as a propaedeutic, who prepares the nation for future cultural achievements. The roots of many Franko’s characters and prose forms should also be sought in the early childhood of the writer, a son of a village blacksmith and poor noblewoman. The greatest influence on his literary taste, as he himself admitted, had gymnasium teachers Ivan Verchratskyi (biologist and litterateur), who supplied the young schoolboy with books from his own library, and Julian Turchynskyi (writer and critic), but direct impetus to writing was given by the example of gymnasium friends – Izydor Pasichynskyi and Dmytro Vintskovskyi. The researcher also made an attempt to periodize Franko’s prose and singled out 3 periods of its progress: ‘youthful romanticism’, scholarly and ‘ideal’ realism and the section of modernist searches.

This paper was originally the result of a research discussing the syntagm “politics in literature” which reflected a certain relationship between politics as a form of collective practice and literature as a historical regime of the art of writing. The phenomena of N. Riantiarnno as a litterateur, Teater Koma as a theatre institution and Trilogy of Cokroach Opera as a literature piece show a certain aesthetic and politics elements hidden inside the literatures as the reflection of society which is influenced by its history and politics state. On the other hand, the relation between litterateurs, the institution where they worked, the texts they created and the consuming societies indicates that the production and consumption of literature pieces are not separated from practical politics practice. AbstrakTulisan ini merupakan hasil penelitian yang berangkat dari sintagma "politik dalam karya sastra" yang merefleksikan hubungan tertentu antara politik sebagai bentuk praktik kolektif dan sastra sebagai rezim historis dari seni menulis. Penelitian ini menggunakan prinsip analisis isi kualitatif dalam kerangka analisis wacana kritis. Di dalam tulisan ini diungkapkan hubungan antara fenomena N. Riantiarno sebagai sastrawan, Teater Koma sebagai institusi teater, dan teks drama sebagai karya sastra memperlihatkan elemen estetik dan politik tertentu yang tersembunyi di dalam karya sastra sebagai refleksi masyarakat yang dipengaruhi kondisi sejarah dan politiknya. Di sisi lain, hubungan sastrawan, institusi tempat ia berkarya, teks yang dihasilkannya, dan masyarakat pengonsumsi karya tersebut memperlihatkan bahwa pemroduksian dan pengonsumsian sebuah karya sastra pun taklepas dari aspek politik praktis.

The second Abbasid caliph, Abu Ja‟far al-Mansur, who is deemed one of the most significant caliphs of the Abbasid dynasty, created the city of Baghdad in a bid to create a capital for his dynasty that would give rise to a culture that surpassed in its intellectual and cultural prowess the Umayyads before it. It was this fixation of al-Mansur that led to his gathering the best litterateurs of his era around him in the newly constructed Baghdadi royal court. al-Mansur‟s city thrived after his death and became a cultural center of the world, giving birth to some of the greatest literary works of all time. This work is an effort to study briefly the formative eras of the stream of Arabic literature that was born in the Baghdadi courts & streets – namely, from the year 763 C.E. (which was when the royal court was first held in the newborn city) till the end of the eighth century; the work begins with a brief look into the building of Baghdad as well as the caliphs who ruled it in this century, then the writer has discussed the elements that influenced the literature produced by the Baghdadi intellectuals in this era, before moving towards the two distinctive streams of poetry and prose along with a concise examination of the prominent poets and writers of Baghdad from the eighth century, and some important literary works (prosaic) produced in the city or that reached the city during this time. The work is concluded with a brief commentary upon the impact of the Baghdadi caliphs upon the literature produced under their patronage