Academic literature on the topic 'Personal narratives, Tatar'

This article examines post-Soviet Muslim revival among the Volga Tatars, historically Sunni (Hanafi) Muslims, in the central Russian Republic of Tatarstan. Drawing on ethnographic research among practicing Muslim Tatar women and discourse analysis of their piety stories, I argue that at the heart of the revival is the Tatars’ debate over the extent and nature of Islam that should be part of Tatar identity. In this debate, sources of Islamic knowledge and physical manifestations of Muslim piety function as the primary, if inaccurate, indicators of one’s Muslim identity. I conclude that practicing Muslim Tatars are aware of the role their religious education and physical practices play in others’ (often stereotypical) perceptions of them, and they deal with such perceptions by (re)negotiating their religious identities in personal narratives.

The revival of Islam in the central Russian republic of Tatarstan has transformed the daily landscape and the very notion of Muslim piety in the region. While a growing number of historically Muslim Tatars of all ages are embracing embodied piety, an older generation’s turn to religion is often perceived as late in coming and insincere. Based on ethnographic research and personal narratives of practicing Muslim Tatar women, I explore the ways the older women (re)construct their Muslim identities in the context of Tatars’ recent interest in Islam. Specifically, I analyze two older Tatar women’s stories about their paths to Islam. My analysis suggests that by tapping into the Soviet past, the women strive to create a continuously moral self that can serve as a solid basis for their present-day Muslim piety.

The article discusses ethnographic essays and novellas in the poems by Alexandra Andreevna Fuchs. The wife of a famous professor Karl Fuchs, she was resident of Kazan, hosted a literary salon, which was frequented by many local and visiting writers and poets, and met with Alexander Pushkin during his stay in the town. Alexandra Fuchs became the first Russian ethnographer writer; she purposefully traveled to places where the Chuvash, Mari (Cheremis), and Udmurts (Votyaks) lived, and wrote essays about the life, daily routine, manners and customs of these peoples drawing on her personal observations. Her essays took the form of letters and were often accompanied by response letters from her husband. They were published in the Kazan magazine Zavolzhsky Muravey [Zavolzhsky Ant], in the regional newspaper Kazanskie gubernskie vedomosti [Kazan Provincial Gazette], as well as in a number of separate books. The article analyzes the rhetorical peculiarities and author’s position of Alexandra Fuks’ essay writing. The analysis also involves ethnographic-fiction novellas (poems) by A. Fuchs, taken, according to her, “from the Tatar tradition”: ‘Princess Habiba’, ‘Founding of the city of Kazan’, a comment to which was written by her husband. These works fit into the tradition of the “Eastern novella”, popular in Russia since the eighteenth century. Depicting the exotic life of ancient Tatars and the peoples neighboring Kazan, Alexandra Fuchs sought to reconcile the orientation of the region to the East with the Orthodox-Imperial ideology which (in her view) was more advanced and progressive. Her sympathies as the author lay with female characters who contradicted traditional Muslim customs. Alexandra Fuchs’ essays and tales played a considerable role in awakening the interest of a Russian reader to the peoples of the empire, which preceded the mid-19th century rise of ethnography in science and literature.

For the first time, this article concentrates on the phenomenon of personality in the Udmurt ethnical culture. This is a good framework to talk about Olga Nikolaevna Solovyova (1932-2018), well-known among the Udmurt as Dzhaky/Dzhakapay/Dzhakyapay (litt.: Jay/aunt Jay). There are several reasons for scientific interest about her: she had a huge knowledge of singing repertoire and rituals, she was able to improvise freely within her local tradition, she had exceptional musical abilities. The analysis of Olga Solovyova’s character as a performer allows to connect the songs in her repertoire with her singer’s fate. Many of her non-ritual songs are indeed autobiographic narratives with her reflections about her unhappy life, her fate as an orphan. A large corpus in her songs belongs to the so-called personal songs, a kind of memory about a person in musical, singing form. Another original feature in her singing art was the knowledge of other communities’ songs (Russian, Mari, Tatar), from the surrounding villages, both in the original languages as in translation into Udmurt. Because of her knowledge of the local ritual tradition, Olga Solovyova was a significant and respected member of her village community. Until her life’s last day, she respected the traditional worldview positions, the behavioural rules, the canons of ritual and singing performance, which she endeavoured to instil in her entourage. All this arose genuine interest in social and scientific circles. And today, when she is no more among us, her name comes back to life in numerous different projects.

AbstractUnder the Bourguiba and Bin ʿAli regimes, the early 20th-century women's rights advocate Tahar Haddad (1899–1935) was a symbol of “state feminism.” Nationalist intellectuals traced the 1956 Personal Status Code to Haddad's work, and Bourguiba and Bin ʿAli claimed to “uphold” his ideals and “avenge” the persecution he suffered at the hands of the ʿulamaʾ at the Zaytuna mosque-university. Breaking with “old regime” narratives, this article studies Haddad as a reformist within Tunisia's religious establishment. Haddad's example challenges the idea that Islamic reformists “opened the door to” secularists in the Arab world. After independence, Haddad's ideas were not a starting point for Tunisia's presidents, but a reference point available to every actor in the political landscape.

На материале произведений современной татарской писательницы Р. Габдулхаковой выявляются конститутивные черты жанра парча в современной татарской литературе. Охарактеризованы жанровые разновидности парчи в творчестве Р. Габдулхаковой, которые соответствуют двум направлениям сюжетного движения: от внешнего к внутреннему или от единичного к универсальному и двум типам повествования - от 1-го или от 3-го лица. Художественное завершение в парчах первого типа определяется постижением некой нравственной истины, вытекающей из лично пережитой лирическим субъектом ситуации, в парчах второго типа оно создается переходом от отдельных явлений к их суммирующему итогу. Сделан вывод о том, что внутреннюю меру жанра определяет характер соотношения повествовательной фабулы и обобщающей ее «концовки». Описаны свойственные этому жанру пространственно-временные отношения и принципы организации субъектной сферы. Структурообразующая роль в парчах Р. Габдулхаковой отводится субъективно-лирическому началу в повествовании. В произведениях писательницы проявились как особенности ее творческой индивидуальности, так и типологические черты женской прозы в целом с ее повышенной эмоциональностью, автобиографичностью и проникновенностью. Большинство миниатюр Р. Габдулхаковой написаны от первого лица и представляют сознание женщины, сосредоточенной на переживании своего одиночества и «холода жизни», безответной любви и позднего раскаяния, боли утраты, преследующей каждого человека после ухода матери. Парчи, написанные от третьего лица, раскрывают сознание человека, знающего о существовании объективных закономерностей и пытающегося найти личный выход из безнадежных ситуаций. В творчестве Р. Габдулхаковой парча функционирует как синтетический жанр, вбирающий в себя элементы других жанровых форм. On the material of works of the modern Tatar writer R. Gabdulhakova the constitutive features of the genre of the parcha are revealed. Genre varieties of parcha in the work of R. Gabdulkhakova are characterized, which correspond to two directions of plot movement: from the external to the internal or from the individual to the universal, and two types of narrative-from 1 or 3 persons. Artistic completion in the parcha of the first type is determined by the realization of a certain moral truth arising from the situation personally experienced by the lyrical subject, in the parcha of the second type it is created by the transition from individual phenomena to their summing result. It is concluded that the internal measure of the genre determines the nature of the relationship between the narrative plot and its generalizing "ending". Space-time relations and principles of organization of the subject sphere peculiar to this genre are described. The structure-forming role in the parcha of R. Gabdulkhakova is assigned to the subjective-lyrical beginning in the narrative. The works of the writer manifested both the features of her creative individuality and the typological features of female prose in general with its increased emotionality, autobiography and penetration. Most of R. Gabdulhakova’s miniatures are written in the first person and represent the consciousness of a woman focused on experiencing her loneliness and “cold life”, unrequited love and late repentance, the pain of loss that haunts every person after leaving her mother. Рarcha written in the third person reveal the consciousness of a person who knows about the existence of objective laws and tries to find a personal way out of hopeless situations. Allegorical or symbolic imagery at the same time turns a personal scenario - into a typical, universal human one. In the work of R. Gabdulhakova parcha functions as a synthetic genre, incorporating elements of other genre forms.

This paper examines the implementation of counter-radicalization extension by Islamic Extension Workers (IEW) and the policies issued in the effort at the Ministry of Religion Affairs (MoRA) in Sukoharjo, Central Java. The descriptive method was used by using the qualitative approach. The results show that the MoRA had established a program for disseminating Islamic moderation in the 2015-2020 Strategic Plan as a counter-radicalization, which the Directorate General of Islamic Guidance programmed to optimize the role of IEW. However, until the end of the Strategic Plan, the program was unclear to the level of extension workers. Although there was no policy for operational guidance on it, MoRa of Sukoharjo made a policy to enact the decision of the General Director of Islamic Guidance number 297/2017 as a reference for radicalism extension. In the implementation of the face-to-face approach of extension (inter persona communication), it has not run optimally by IEW due to their competency and capacity factors. While in the mediated communication approach, IEW of Sukoharjo has succeeded in developing the extension activities through counter radicalism narratives, mosque coaching, and forming the communication forum for Mosque administrators as counter radicalism efforts. Tulisan ini mengkaji tentang implementasi penyuluhan kontra radikalisasi oleh Penyuluh Agama Islam (PAI) dan kebijakan-kebijakan yang telah dikeluarkan dalam upaya tersebut di Kementerian Agama (Kemenag) Sukoharjo, Jawa Tengah. Metode deskriptif digunakan dengan menggunakan metode kualitatif. Hasil penelitian menunjukkan bahwa Kemenag telah menetapkan program diseminasi moderasi Islam dalam Renstra 2015-2020 sebagai kontra radikalisasi, yang oleh Ditjen Bimas Islam diprogramkan optimalisasi peran penyuluh agama Islam, namun sampai akhir Renstra upaya tersebut belum terealisasi dengan jelas sampai ke tingkat penyuluh. Meskipun belum ada kebijakan berupa pedoman penyuluhan moderasi Islam, Kemenag Sukoharjo mengambil kebijakan untuk memberlakukan keputusan Dirjen Bimas Islam No. 297/2017 sebagai acuan penyuluhan radikalisme, namun dalam implementasi penyuluhan tatap muka (inter persona communication) belum dijalankan secara maksimal oleh PAI karena faktor kompetensi dan kapasitas. Sementara dalam penyuluhan dengan pendekatan mediated communication, PAI Sukoharjo telah berhasil mengembangkan kegiatan penyuluhan melalui kontra narasi radikalisme, pembinaan masjid dan membentuk forum silaturahmi antar pengurus masjid sebagai upaya kontra radikalisme.

During migration, whether due to war, political conflict, or poverty, immigrants of turmoil carry their limited personal belongings, family items, and supportive objects in their luggage, bags, and, in some cases, chests to their new homes. Throughout this displacement, chests of migration are necessary and valuable witnesses via their materiality and they wait in their specific corners of houses dare to be contemplated. After the demanding journey, some immigrants continue to use both the chest itself and its contents at their new house in the target locations. In addition, used chests and their contents link immigrants to the journey and to the former location. The immigrants often choose to organize, decorate, and arrange their homes and rooms according to these chests and the items within. This rich mutual relationship between chest, immigrant, and house allows for multidimensional readings considering the spatial trajectories and narratives of migration. Moreover, the trialectic relationships of chest, immigrant, and their space within generate the arguments on the production of space in particular. In this paper, decoding of recent in-depth interviews, documentation of chest locations on each space, and revealing archival material of immigrant families in Ankara, Turkey, are systematized to illustrate the journey of emigration together with the particularities of chest keepers’ attitudes and feelings. Additionally, inscriptions, contents, types, and paths of chest are unlocked on private and communal spaces of the Tatar community. This paper aims to uncover those implanted, profound, and engrained interactions on space of immigrant during expedition of chest.

05–334Angelides, Panayiotis, Maria Evangelou & James Leigh (Intercollege, Cyprus), Implementing a collaborative model of action research for teacher development. Educational Action Research (Oxford, UK), 13.2 (2005), 275–290.05–335Brock, Cynthia, Lori Helman & Chitlada Patchen (U of Nevada, USA), Learning to conduct teacher research: exploring the development of mediated understandings. Teachers and Teaching: Theory and Practice (Abingdon, UK) 11.1 (2005), 73–94.05–336Burdelski, Matthew (California U, USA; mburdel@ucla.edu), Close- and open-ended narratives of personal experience: weekly meetings among a supervisor and teaching assistants of a ‘Japanese language education practicum’. Linguistics and Education (Amsterdam, the Netherlands) 15.1–2 (2004), 3–32.05–337Dooly, Melinda (U of Barcelona, Spain), How aware are they? Research into teachers' attitudes about linguistic diversity. Language Awareness (Clevedon, UK) 14.2/3 (2005), 97–112.05–338Ezer, Hanna (Levinsky College of Education, Tel-Aviv, Israel; hezer@macam.ac.il) & Tamar Sivan, ‘Good’ academic writing in Hebrew: the perceptions of pre-service teachers and their instructors. Assessing Writing (Amsterdam, the Netherlands) 10.2 (2005), 117–133.05–339Hayes, David (U of Birmingham, UK), Exploring the lives of non-native speaking English educators in Sri Lanka. Teachers and Teaching: Theory and Practice (Abingdon, UK) 11.2 (2005), 169–194.05–340Korthagen, Fred (Utrecht U, the Netherlands) & Angelo Vasalos, Levels in reflection: core reflection as a means to enhance professional growth. Teachers and Teaching: Theory and Practice (Abingdon, UK) 11.1 (2005), 47–71.05–341Lynch, Brian (Portland State U, USA; bklynch@pdx.edu) & Peter Shaw, Portfolios, power, and ethics. TESOL Quarterly (Alexandria, VA, USA) 39.2, 263–298.05–342Roulston, Kathryn, Roy Legette, Monica DeLoach & Celeste Buckhalter Pittman (U of Georgia, USA), What is ‘research’ for teacher-researchers?Educational Action Research (Oxford, UK) 13.2 (2005), 169–190.05–343Santagata, Rossella (California U, USA; rossellas@lessonlab.com), ‘Are you joking or are you sleeping?’: cultural beliefs and practices in Italian and U.S. teachers' mistake-handling strategies. Linguistics and Education (Amsterdam, the Netherlands) 15.1–2 (2004), 141–164.05–344Waters, Alan (Lancaster U, UK; A.Waters@lancaster.ac.uk), Ma. Luz. C. Vilcheseo, Managing innovation in language education: a course for ELT change agents. RELC Journal (Thousand Oaks, CA, USA) 36.2 (2005), 117–136.

The writers pay increased attention to the philosophical and historiographical interpretation of events and phenomena, the moral and human essence of historical persons, which absorbs their upbringing, social roles, and innate mental dominants. The article establishes that the main types of plot creation of historical novels are chronicled, events in which unfold in a temporal sequence, and concentric (“single action”), where events develop in a causal relationship. The conceptual storyline of the novel by M. Morozenko “Ivan Sirko, the Great Sorcerer” is the confrontation of the young main character and the pompous instigator of the youthful detachment Taras Chornoplit. The situation, which is repeated in chivalrous novels, is elegantly modeled. The character of the opponents is checked for stability: the enraged Taras Chornoplit threw Ivan Polovets, who is smaller, on the grass, but the last one did not lose his head and fought back. The fight between them will be one of the plot engines. In the real moments of the greatest tension of the conflict, Sirko’s legendary supernatural abilities are woven, because he learned from the characters to see the innermost as well. The confrontation continued. The struggle between good and evil is organically woven into the outline of the plot of the story “Ivan Sirko, the Glorious Koshovoy”: the military fame of the fellow countryman strangled Chornoplit, and he slandered him. Further plot situations are saturated with fantasy: confusing feet, Chornoplit approached the Sich gates, but it was as if someone had moved them. In the morning he woke up far from the gates and was suddenly captured by the Tatars. The culmination of the clash was Sirko's response to treason against his native land. If Taras carries unworthy fame from here and disgraces his native Merefyanka, then death will be the punishment. The second time Sirko pushed Chornoplit as if he were something nasty and ugly. According to the results of the study, it was found that episodes of the confrontation between Sirko and Chornoplit constitute an event chain of verification of the moral qualities of the characters. It shows that for the writer, the preservation and development of the best achievements of the past, the proactive search for connections with folklore science fiction is especially relevant and important. Different orders have compositional components of the novels of dilogy: descriptions, landscapes, portraits, monologues, dialogues, polylogues. They are enriched by the reproduction of the human perception of the world seen and experienced by the characters in stories, the connections between them and events, the fixation of individual communicative situations. Magical landscapes are consonant with the moods of the citizen of Merefyanka; their souls turn to ancient sources. The majestic landscape of Khortytsia personifies the Cossack defense and glory. Khortytsia represents in the story not only a landscape type, but also a component of historical memory in the process of creating a nation. Emotionally respectful attitude to the cradle of the Cossacks forms a personal consciousness. Sirko's verbal and artistic portraits describe a temperamental personality at different age. In postmodern narratives, M. Morozenko, instead of full reproductions of the personality of the main character, draws attention only to the leading features in various life situations. The novelism of the stories allowed the writer to achieve the desired laconicism in affirming historical memory, human good and justice, the need to talk with the young reader about the most important thing – friendship and child cruelty, truth and injustice, love and hatred, about the attitude to parents and the active character of the little hero, about Cossack feats. Keywords: opening, culmination, event chain, retrospection.