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Several short story writers have written texts in the form of a short play. It can be questioned whether such a text can legitimately be called a narrative. The dramatic character is dubious since they are obviously designed for reading rather than stage presentation. If they appear in short story collections or as parts of a novel, the narrative context also acts against their dramatic character. Zoltán Ambrus' books, Baron Berzsenyi and His Family and The Berzsenyi Girls' Twelve Fiancés, contain such texts. Several stage directions indicate an undramatic character. The paper highlights strategies that make the texts narratives rather than playlets. These include showing one moment of a plot from which readers can see a longer development, using one partner in the dialogue as an 'intradiegetic' narrator who tells a story, amplifying stage directions into narrative passages, and showing two or three distinct scenes, which a reader can interpret as parts of a bigger story. By using these tools, Ambrus' texts acquire a narrative character despite the form of a play. [ABSTRACT FROM AUTHOR]

Radio drama presents unique challenges for narrative construction, particularly with regard to the incorporation of a narrator. The illusion of immediacy in radio drama often makes it difficult to identify a narrator, disrupting the traditional narrative structure found in novels. This article explores two American radio adaptations of H. G. Wells's The Time Machine, with a particular focus on the use of narrative techniques that move beyond the possibilities of the original novel's textual medium. This comparison emphasizes the unique narrative structures present in the radio adaptations and deepens our understanding of the distinct affordances as well as limitations of the audio medium in realizing Wells's visionary tale. The analysis considers the concepts of narrator, focalizer and mediator and their application in radio drama. By exploring the distinctive characteristics of auditory signification and multimodal strategies utilized in audio drama, a deeper comprehension of narrative theory can be achieved. [ABSTRACT FROM AUTHOR]

Procopius of Caesarea traveled with the household of the general Belisarius for many years. If his Secret History is any indication, the historian gained a rich acquaintance with Belisarius’s formidable wife, Antonina. It is possible that the negative treatment of Antonina in the Secret History reflects a rivalry between her and Procopius. This competition becomes most clear when examining the moments in which Procopius becomes a participant in his own narrative of the History of the Wars, and especially in the attempt to resupply Rome (under siege by the Goths) from Naples in 537 AD. Although the historian portrays this moment, when Belisarius entrusted him with fetching reinforcements and supplies for the beleaguered Roman army, as his time to shine, Procopius was upstaged by Antonina. If there was a competition for influence with Belisarius, it seems to have been one that Antonina won handily. It is worth therefore examining the outrageous critiques of Antonina in the Secret History through the lens of a disappointed or even revengeful Procopius.

Abstract When we engage with fictions, we are, in effect, pretending to deal with reports of actual events. After all, numerous fictional works are explicitly designed to facilitate this kind of pretense. This was the prevailing understanding of fiction in both analytic philosophy and classical narratology for decades. However, there is a significant problem with this view: many fictional narratives routinely portray scenarios that could not possibly be the subject of anyone’s reporting. Currie’s 'mindless fictions' are one such example. This issue can be referred to as the problem of unreportability. The standard solution to this challenge has been to argue that fictions are not pretend reports, but rather direct authorial stipulations to imagine specific scenarios. This paper contends, however, that such an explanation fails to provide a satisfactory account of fiction. By drawing on Walton’s notion of ‘silly questions’, it instead argues for a revised version of the report model-one that doesn’t necessarily depend on ubiquitous fictional reporters.

With the growing concern for revisiting the cultural roots in contemporary African literature, this article explores the concept of chi in the Igbo belief system as manifested in literary sources. Specifi c emphasis is put on the Chi character in Chigozie Obioma’s novel An orchestra of minorities. The article focuses on exploring Chi’s role as narrator, guiding spirit, and orator who transcends all spatial-temporal boundaries. Being a representative of an individual human being in the spirit realm, he is an active companion and guide of his host. The study aims to showcase the metaphysics of being and existence in the Igbo world through the journey of reincarnating spirit chi who transcends the conventional narrative techniques and presents his host’s testimony in the eternal land.

The article examines the memoir-autobiographical prose of D. Ovsyaniko-Kulikovskiy as an original example of nonfiction literature. The relevance of the work is due to the active study of the theory and history of memoir-biographical prose in domestic and foreign literary studies, as well as the intensive development of contemporary autobiography. The purpose of the study is to identify the specifics of the autobiographical narrative, the peculiarities of the author's self-identification and the construction of the narrator's life story. It is shown that an autobiographical narrative is constructed as a story for others and a story for oneself. Autobiographical memory contains elements of varying degrees of generalization. While maintaining psychophysical identity, the distance between the autocharacter and the narrator is constantly emphasized. As the narrative develops, the narrator's features of a scientist become more and more pronounced, and the narrative shows signs of scientific discourse. "Memoirs" reveals such components of a scientific narrative as description, explanation, analogy, analysis, argumentation, categorization, classification, logical proof, and intertextuality. The supertask performed by the narrator is to characterize the history of his personal and scientific formation as a path to the acquisition of scientific truths and the methodological, basic, and ideological foundations of scientific activity. The narrative also has elements of artistry: complication of the narrative structure, violation of linearity, fictionalization of biographical stories, expressiveness and integrity of images, attention to detail, etc. “Memoirs” by D. Ovsyaniko-Kulikovskiy are a memoir-autobiographical conceptualized narrative subordinated to the author's targeted message. This story combines the features of documentary, scientific and fictional narrative and reveals the author's worldview and scientific credo. At the same time, the inner (perhaps subconscious) core of “Memoirs” actually becomes the process of autocreation of an ideal scientist, which becomes a source of inner satisfaction.

The third-person omniscient narrator of fiction texts for children holds the ability to access characters’ thoughts, fly where they will within the story, and interact with time and tense. Philip Pullman characterises this kind of narrator as a multiscient sprite, not a human seeing and telling, but something else which possesses unhuman-like qualities. This paper uses an analysis of the narrator’s voice, character, and choices to access two other characters created by the story being told—the narratee and the implied reader, both of whom may well be thought of as child characters produced by the text. A profile of these two products is then presented. Through a close textual analysis, which draws out untagged parts of Northern Light’s narrator’s speech, an examination of the kinds of characters the narratee, and implied reader could be seen to be is gathered. The narrator’s ability to intensely empathise with characters is passed onto the narratee and also normalised by aspects of the story, including the alethiometer, a device from the created world of the story which is imbued with strikingly similar qualities to the narrator. Lyra, the book’s protagonist, and the instrument interact with each other in a manner akin to the narrator and narratee, both having an agency which the implied reader could be bestowed with from reading the text.

This study attempts a narratological analysis of the elements of voice and mood of two novels by Kazuo Ishiguro: The Remains of the Day (1989). The theoretical reference of the study will be based on the ideas of narratology with special reference to Gerard Genette Narrative Theory. Narratology is one of the main branches of structuralism. The goal of this field is to understand, analyze, and evaluate narratives. The analysis is then further going into the examination of the function of the narrator in the novels. At the end, findings and recommendations for further research are provided. [ABSTRACT FROM AUTHOR]

The third-person omniscient narrator of fiction texts for children holds the ability to access characters' thoughts, fly where they will within the story, and interact with time and tense. Philip Pullman characterises this kind of narrator as a multiscient sprite, not a human seeing and telling, but something else which possesses unhuman-like qualities. This paper uses an analysis of the narrator's voice, character, and choices to access two other characters created by the story being told—the narratee and the implied reader, both of whom may well be thought of as child characters produced by the text. A profile of these two products is then presented. Through a close textual analysis, which draws out untagged parts of Northern Light's narrator's speech, an examination of the kinds of characters the narratee, and implied reader could be seen to be is gathered. The narrator's ability to intensely empathise with characters is passed onto the narratee and also normalised by aspects of the story, including the alethiometer, a device from the created world of the story which is imbued with strikingly similar qualities to the narrator. Lyra, the book's protagonist, and the instrument interact with each other in a manner akin to the narrator and narratee, both having an agency which the implied reader could be bestowed with from reading the text. [ABSTRACT FROM AUTHOR]

From the vantagepoint of a feminist/queer/cisgender narratologist, “Trans-forming Narratology” asks which aspects of narrative practice might be particularly salient to developing a fruitful trans narratology while also calling our attention to elements of narrative that conventional (cis)narratology has undervalued or ignored. Keeping in mind matters that might be particularly relevant to trans narratives, this speculative essay explores aspects of voice, embodiment, character space, plotting, and closure in a set of recent American and British novels. It considers ways in which trans narratives can exploit the gender freedom of the first-person English pronoun or, conversely, signal temporally dual identities through heterodiegetic naming practices. It addresses tensions between a character’s proclaimed gender and their assigned sex and the differing implications of texts with narratees who are also textual actors and those whose narratees serve as external confidantes. Through brief forays into multiple aspects of narrative form, this essay argues for a narratology that can show the rich and varied capacities of trans writings past and present, with the hope that attention to trans narratives will both deepen our understanding of trans literature and advance the larger project of a comprehensive, situated narratology. [ABSTRACT FROM AUTHOR]

The use of voice-over narration was frowned upon over the course of the 20th century, and it is only after the 1980s that it was accepted and became more prevalent in the film and television industry (Kozloff 12-13). The following decade was marked by more experimentation with this narrative technique leading to the creation of diverse narrator profiles. This is illustrated in a miscellany of TV series, such as Desperate Housewives and Jane the Virgin, wherein the voice-over narrator plays an important narratological function. As these two series showcase, voice-over narrators can be either homodiegetic or heterodiegetic. Accordingly, the former exists in the storyworld as a character, while the latter does not. This paper hypothesizes that under certain circumstances, heterodiegetic voice-over narrators can become characters despite their incorporeality on the screen, thanks to the power of the voice.

The article presents a comparative analysis of two stories written by Anatole France close in time and dealing with similar issues, namely “Le Manuscrit d’un médecin de village” and “L’OEuf rouge.” The purpose of the study is to clarify the narrator’s position in the texts where the voice is delegated to a character, and the truth eludes the reader due to numerous omissions and thus to understand the reason why France deploys obscured writing. The stories, although included in different cycles, share a number images, motifs and narrative strategies. Both short stories address the topic of heredity, which makes researchers observe in them the influence of naturalism on France’s artistic method. Nevertheless, the construction of the texts each time calls into question the attitude of both the narrator and the author to the naturalistic concept of personality, the aesthetics of naturalism and positivist philosophy in general, introduces the possibility of an alternative interpretation of events and images. A comparison of the two pieces enables us to conclude that France has an ambiguous, ironic view of ideas popular among his contemporaries and that the writer prefers an artistic and cultural text over positivist analyticity.

The subject matter of this paper concerns the early phase of Vasily Grossman’s literary career in the mid1930s. Prior to this period, the author proved his ability to evaluate the mechanisms of censorship and developed his understanding of what was publishable and what could be sanctioned through the publication process of his first novel (Bit Yunan, Fel’dman 2019). The research material selected for this paper is the lesserknown short story Zhizn’ Il’i Stepanovicha [The life of Il’ya Stepanovich], published in 1935, and the aim is to provide a close reading and an interpretation key to this text. In order to expose the hidden ambiguity of the short story, the chosen research perspective includes a focus on the function of the protagonist as an entity that does not legitimise the socialist myth; a narratological approach on the use of proper names, on “perspective” and the role of the narrator with regard to the axiological structure of the text.

In the milieu of interwar Romanian modernism, Șerban Cioculescu showed a particular interest in the making of literary biographies, which in the post-war decades resulted in a self-styled version of biographical criticism. This article follows the avatars of a heated debate developed in 1970-‘80s around the life and works of writer Mateiu I. Caragiale, involving, on the one hand, Alexandru George, Alexandru Paleologu, and N. Steinhardt, and on the other, Șerban Cioculescu and Eugen Simion. While the former group claims a textual hermeneutics devoid of biographical speculation, the latter supports the revival of biography-based analysis. Eugen Simion finds in Șerban Cioculescu’s approach a valuable ally, while preparing his book Întoarcerea autorului (The Return of the Author, 1981), to defy the mainstream anti-biographical orientation of Romanian criticism, and re[1]introduce, in the spirit of French theory (like Jean Starobinski or Serge Doubrovsky’s), the figure of the author in text interpretation.

AbstractThe Court of kings and dynasties were manifestation of ceremonial customs and occasions which pertain to the roots of literature and history of their nations. Consequently, culture and civilization of our antecedents influenced creation of their descendants' culture in sequential and continual way. Narration and storytelling, known as a notable position at the Court of Emperors and Kings and as constituents of literal customs of the court, have revived and rejuvenated the ancient tradition of oral literature. Regarding such a position, it could be said that some of the authors believe that commencement of the first period of storytelling in Iran returns to The Achaemenid Empire and Kianian Dynasty, but some others believe that it comes from The Gusans of the Parthian Empire. In following periods, since Samanid Dynasty until Ghaznavid Empire, the role of narration and storytelling was played by Zoroastrian Clerics and the mates – servants and maids – as well as reading epics. Servants or maids were to learn and acquire an agglomeration of literal issues and skills such as poems, reciting, eloquence and performance.During The Ilkhanate Era (the Mughals Dynasty), Iranian stories became more religious due to bitterness of Mughal Attacks. At the Court of Safavid Dynasty, narration and storytelling reach its peak of prosperity and then the Court of Qajar gave this position a new lease of live, titled "Reciter". This current research has tried to investigate and study this position and its evolutions their ceremonial customs at the court of Iranian Kings.

Procopius of Caesarea traveled with the household of the general Belisarius for many years. If his Secret History is any indication, the historian gained a rich acquaintance with Belisarius's formidable wife, Antonina. It is possible that the negative treatment of Antonina in the Secret History reflects a rivalry between her and Procopius. This competition becomes most clear when examining the moments in which Procopius becomes a participant in his own narrative of the History of the Wars, and especially in the attempt to resupply Rome (under siege by the Goths) from Naples in 537 AD. Although the historian portrays this moment, when Belisarius entrusted him with fetching reinforcements and supplies for the beleaguered Roman army, as his time to shine, Procopius was upstaged by Antonina. If there was a competition for influence with Belisarius, it seems to have been one that Antonina won handily. It is worth therefore examining the outrageous critiques of Antonina in the Secret History through the lens of a disappointed or even revengeful Procopius. [ABSTRACT FROM AUTHOR]

Background. The Even language is among the endangered languages. The situation requires comprehensive research, recording and documentation of the Even language and culture. The research of the synonymic relations in the Even language will show the lexical-semantic development of the Even word, the stylistic features of the language. Purpose. The article is devoted to the study of synonyms in the Even folk texts. Materials and methods. Epic tales of the Evens of Okhotsk are used as a source of research. The main method of research is the descriptive one along with semantic analysis and elicitation methods. Results. The collected lexical material, distributed according to the parts of speech, reveals a numerical superiority of verbal synonyms in comparison with other groups of words. In the texts of the narrator N.G Mokrousov. synonyms serve as expressive means, have expressive load, are used in the description of the various phenomena, properties, actions, are applied with a view of preservation of a rhythm of singing. Frequent synonyms are recorded in the work. Practical implications. The results of the work can be applied in studies on the language and folklore of the Tungus-Manchur peoples.

Very often, focalization in the study of narratology is neglected in its use in literary works. The point of view in a short story or novel is one of the basics for understanding literary works. Based on this, focalization becomes one of the most important elements in the intrinsic structure of literary works. This study aims to describe the forms of internal and external focalization in the novel Ranah 3 Warna by Ahmad Fuadi. The method used is narrative method and structural approach. The theory used as a knife of analysis is Gerard Genette's theory of narratology. Words, phrases, sentences in the novel Ranah 3 Warna related to relevant theories will be the focus of the study. Data was collected by reading and note technique. The results of this study found three internal focalization data from the novel Ranah 3 Warna which represent other data. Alif describes several figures, namely Rusdi, Wira, and Agam. While on external focalization, Alif received information from several figures, namely Mr. Etek Gindo, Ustad Salman and Asti, his classmate at FISIP Abstrak Sering sekali fokalisasi dalam kajian naratologi diabaikan penggunaannya dalam karya sastra. Sudut pandang dalam sebuah cerpen atau novel menjadi salah satu dasar tercapainya pemahaman karya sastra. Berdasarkan hal tersebut, fokalisasi menjadi salah satu elemen terpenting dalam struktur intrinsik karya sastra. Penelitian ini bertujuan untuk mendiskripsikan bentuk fokalisasi internal dan fokalisasi eksternal dalam novel Ranah 3 Warna karya Ahmad Fuadi. Metode yang digunakan ialah metode naratif dan pendekatan struktural. Teori yang dipakai sebagai pisau analisis adalah teori naratologi Gerard Genette. Kata, frasa, kalimat pada novel Ranah 3 Warna yang berkaitan dengan teori yang relevan akan menjadi fokus kajian. Data dikumpulkan dengan teknik baca dan catat. Hasil penelitian ini ditemukan tiga data fokalisasi internal dari novel Ranah 3 Warna yang mewakili data-data lainnya. Alif mendeskripsikan beberapa tokoh yaitu Rusdi, Wira, dan Agam. Sedangkan pada fokalisasi eksternal, Alif mendapatkan informasi dari beberapa tokoh yaitu Pak Etek Gindo, Ustad Salman dan Asti kakak kelasnya di FISIP.

One of the best representatives of Latin American literature, Clarice Lispector has always fascinated her readers. Her novels bring into question some major aesthetic and ideological issues, sometimes under the mask of elaborated textual games implying innovative narrative strategies and a new way of understanding fiction. The Hour of the Star (A hora da estrela, 1977) addresses the problem of identity and storytelling, as well as the complex relationships established among author, narrator, character and reader. The violence which the novel's protagonist has to face and endure is also an expression of the force of literature. Therefore, the heroine's death stands for the symbolic birth of fiction, her personal life being permanently mirrored by the metaphorical level of this extraordinary text. The novel progressively turns into an intricate and symbolic journey to the self, Lispector analysing the quest for personal (and artistic) identity and its hidden meanings. [Article copies available for a fee from The Transformative Studies Institute. [ABSTRACT FROM AUTHOR]

This research deals with focalization as an important aspect of narratology developed by structuralists. This research aims to explore how the new concept of point of view in narrative theory differ from traditional concept. In doing so, the researcher applied the new concept to the discussion and analysis of Ralph Ellison's novel, Invisible Man. From the analysis, it is shown that Ralph Ellison has made use of multiple focalizers in telling the story, not of a single narrator, as analyzed by using the traditional concept of point of view. The use of multiple focalizations provides the readers with objective viewpoints by representing the perspectives of black and white people and, in turn, supports the racial issue the author wants to convey. The approach applied in this research is qualitative, and the data were gathered from the novel. From this research, it is hoped that the readers can have a better understanding of modern narratology and can later apply the theory in analyzing other works of fiction. [ABSTRACT FROM AUTHOR]

As a result of the recent prizes allocated to him and his influence on Western literature, and his impact on our Arab heritage, creativity and criticism. and then; This research seeks to produce the characteristics of the character of the narration of the fatigue from the cells of the narration, “Layl Al -Fadul” for the sake of the sake of this The most important ones: - Why has writing for boys increased in the recent period in our Arab world? - Are there special features of the eloquence of the boys' narration? Did the Arabs know it, or was it transmitted? - What are the characteristics of the story that is written for boys? - How is the narrative discourse of boys formed on the levels of: building characters, spatio-temporal: (the two structures of time and place), and events? - What are the linguistic and stylistic characteristics of the boys' narration through the novel?

İslâm’ın ikinci kaynağı konumundaki hadisler, Hz. Peygamber’den itibaren hem ezberlenerek hem de yazılarak kayda geçirilmiştir. Onun vefatı ve daha sonra gelişen tarihi olaylar neticesinde hadislerin güvenilirliğini güvence altına almak amacıyla rivâyeti nakleden râvîlerin tespitine yönelik olarak isnad uygulaması geliştirilmiştir. İslâm ve özel olarak hadisler üzerine araştırma yapan ve kendilerine oryantalist denilen Batılı bilim adamları hadislerin geçirdiği bu tarihi süreçle ilgili olarak çeşitli iddialar ortaya atmışlardır. Onların iddialarından bazıları da hadislerin isnadı ve isnadda yer alan râvîlerin durumuna yöneliktir. Serkan Çelikan tarafından kaleme alınan Oryantalist Düşüncede Hayalî Râvî Anlayışı ve Eleştirisi isimli kitapta bu iddialar incelenmekte ve bunlara bilimsel bir yöntemle cevap verilmektedir.

Bu makalenin amacı âlî isnad ile es-sâbık ve’l-lâhik tabirlerinin ilişkilerini ortaya koymaktır. Âlî isnada bu tür nakilleri arayışların başladığı 2./8. asırdan itibaren muhaddislerin yoğun ilgisi görülmüştür. Makalede âlî isnada yönelik bu gayretlerin es-sâbık ve’l-lâhik teriminin ortaya çıkmasına zemin hazırlaması incelenmektedir. Benzer şekilde es-sâbık ve’l-lâhik teriminin âlî isnad arayışlarını teşvik etmesi irdelenmektedir. İki kavram arasındaki bu bağlantıyı tespit amacıyla öncelikle veri dokümantasyon tekniği kullanılmış, hadis tarihinden, çeşitli hadis usûlü ve tabakat eserlerinden elde edilen veriler bu manada incelenmiştir. Ardından her iki konu arasındaki bağlantı bu alanda yazılmış ilk eser olan Hatîb Bâğdâdî’nin (öl. 463/1071) es-sâbık ve’l-lâhik’i üzerinden elde edilen verilerle ortaya konulmuştur. Hatîb Bağdâdî’nin kavramı ortaya koyan ilk kişi olması, onun eseri üzerinden yapılan incelemenin önemini daha da artırmaktadır. Makalede konular arasındaki irtibat teorik anlamda üç açıdan incelenmiştir. Öncelikle muhaddislerin âlî isnada dair yönelimlerinin es-sâbık ve’l-lâhik kavramının oluşmasına nasıl bir zemin hazırladığı tarihi veriler üzerinden değerlendirilmiştir. Ardından konular arasındaki irtibat hadis usûlü ve tabakat müelliflerinin açıklamaları üzerinden irdelenmiştir. Hadis tarihi verileri incelendiğinde 2./8. asırdan itibaren özellikle de 3./9. ve 4./10. yüzyıllarda muhaddislerin âlî isnad semâı ve naklini teşvik ettikleri görülmüştür. Âli isnada yönelim sonucunda tek bir muhaddisten nakleden dede ve torunların bulunması, hadisçilerden bir kısmının büyüklerin rivayetini küçüklere nakletmekle övünmesi gibi hususlar es-sâbık ve’l-lâhik kavramının oluşmasına zemin hazırlamıştır. Ayrıca yüzyıl olarak Hz. Peygamber’den uzaklaşıldıkça ona kısa bir isnadla ulaşmayı sağlayan âlî isnadlar daha çok önem kazanmıştır. Bu durum da es-sâbık ve’l-lâhik kavramının neden 5./10. asırda oluştuğunu açıklar niteliktedir. Ayrıca bu kavramı Hatîb Bağdâdî’nin gündeme getirmesinin de bir tesadüf olmadığı belirlenmiş ve söz konusu muhaddisin âlî isnada yönelik ilgisinin bir sonucu olduğu anlatılmıştır. Hadis usûlü müelliflerinin iki kavram arasında kurduğu irtibat, es-sâbık ve’l-lâhik kavramının âlî isnad semâını teşvik ettiği yönündedir. Nitekim el-lâhik yani bir muhaddisten son hadis nakleden kişi olmak isteyen hadis talipleri küçük yaşta muammerûn hocalara yöneldiklerinden bu durum âlî isnad semâını desteklemektedir. Tabakat müelliflerinin de el-lâhike ulaşan âlî isnadlarını kaydetme çabaları bu durumun farklı bir tezahürü olarak değerlendirilmiştir. İki konu arasındaki irtibat, Hatîb Bağdâdî’nin kavramla aynı ismi taşıyan eserinden de tetkik edilmiş ve buradan kendisine es-sâbık ile el-lâhik nispet edilen muhaddis, es-sâbık ve el-lâhik’e dair çeşitli bulgular elde edilmiştir. Buna göre es-sâbık ile el-lâhik nispet edilen muhaddislerin uzun ömürlü kişiler arasından seçildiği anlaşılmıştır. Ayrıca Hatîb’in 10 ve üzerinde es-sâbık ve’l-lâhikini tespit ettiği 6 muhaddis özelinde bir inceleme yapılmıştır. Buna göre es-sâbık olarak zikredilen râvilerin genel itibarıyla nispet edildiği muhaddisin hocası ya da akranı olduğu tespiti yapılmıştır. Bununla birlikte hocası ya da akranı olma gibi bir zorunluluğun bulunmadığı, bazen öğrenciler içerisinden de sâbıkların varlığı ortaya konmuştur. es-Sâbıkların genelinin hoca ve akranlardan olması kavramın nadirattan sayılacağını göstermektedir. Zira hadis tarihinde isnad genel itibarıyla öğrenciden hocaya doğru gitmektedir. Ayrıca akranın birbirinden ya da hocanın öğrenciden rivayeti, es-sâbık olarak anılan râvilerin o hocadan hadis naklinin nâzil isnada sahip olduğunu göstermiştir. Bununla birlikte es-sâbıkın tüm nakillerin nâzil olmadığı sadece o muhaddisten rivayetlerinin nâzil isnad sayılacağı belirlenmiştir. el-Lâhik ise nispet edilen muhaddisten hadis nakleden son kişi olduğu için zaten mutlak olarak âlî isnada sahiptir ve hepsi uzun ömürlü kişilerdir. Bununla birlikte Hatîb’in kitabının eksik yanı el-lâhik olan kişinin sika ya da metruk olmasına dikkat etmemesidir. Ayrıca lâhiklerin sadece sikalardan seçilmesinin gerekliliği belirtilmiş, bu durumda es-sâbık ile el-lâhik arasındaki mesafeyi pek etkilemeyeceği ortaya konulmuştur.

The collection of poems by a supposedly long-dead Sinaloan poet Eudomóndaro Higuera (referred to in the study as "the Narrator"), Nuevas coplas y cantares del temible bardo Eudomóndaro Higuera alias el Tuerto , is an intriguing read. Compiled and annotated by Mario Bojórquez (who will be referred to as "the Editor"), it contains a strange mix of bawdy lyrics, insulting epitaphs, and soul-searching coded poems. The collection presents a challenge to the reader, who is forced to choose between the Narrator's often simplistic writing and the Editor's high academic analyses thereof. Using the theory of text ownership, I will analyze this contradictory combination to determine who—if anyone—controls the text of the collection. I will explore the roles of the narrator and the editor, taken up by both the Narrator and the Editor, in order to challenge the apparent parodic nature of the collection. [ABSTRACT FROM AUTHOR]

This essay explores the illegitimately born first-person narrator as a figure and technical device in two very different novels: Fyodor Dostoevsky's The Adolescent (Podrostok , 1875) and Zora Neale Hurston's Their Eyes Were Watching God (1937). I argue that both Dostoevsky and Hurston use illegitimately born narrators to extend the novel form, centering the "voice" of a character who defies the genre's conventions at the time and place of writing. At the same time, Hurston and Dostoevsky use the figure of illegitimacy to unsettle their readers' assumptions about the rights of fiction itself; that is, the social, political, or spiritual weight of a sustained encounter with the author's "house rules." Unexpectedly, by ceding the narrative to illegitimately born and socially marginalized characters, both authors signal self-consciously utopian visions of novelistic narrative's lasting power. [ABSTRACT FROM AUTHOR]

This article revisits the sources that Nikolaj Leskov used for "The Tale of Cross-eyed Lefty from Tula and the Steel Flea." The research of the historical context for the creation of "Lefty" and of some previously unaccounted-for pretexts and sources allows us to assert that behind Leskov's stylization and imitation of the oral speech of an ingenuous narrator lies a stinging parody of Russian propaganda literature of the 1850s–1870s. Leskov focuses on the representation of folk speech in this literature by the literary elite. [ABSTRACT FROM AUTHOR]

The story of Śārdūlakarṇāvadāna consists of stories of the present life and past life. The former is about a girl from the low-caste Mātaṅga tribe who pursues Ananda, a disciple of the Buddha, but her pursuit ends in vain, and she eventually converts to Buddhism. The latter is about a low-caste king demonstrating his knowledge of the Vedas and astrology in a bid to marry the daughter of a great Brahmin for his son. The story could be seen in various Buddhist texts, such as the Divyavadāna from Nepal and the Mātaṅga Sutra in China. This paper studies the narration and logic of Śārdūlakarṇāvadāna stories, and it makes conclusions on the commonalities in the compilation of Buddhist narratives by analyzing the beginning and end of the story, as well as its narrator, narratee, and the four conflicts (i.e., the caste barriers, the violation of precepts, the use of incantations, and the use of expertise in seeking marriage). [ABSTRACT FROM AUTHOR]

The present study attempts to analyze the specifics of the point of view evocation in the adventure stories «Adventures of the Thrice Famous Robber Pyntia» by O. Gavrosh and «Wild Summer in the Crimea» by Z. Menzatiuk. The purpose of the article is to clarify interdependence between types of point of view and forms of speech and thought presentation. It was found that the psychological point of view presented in the analyzed stories, according to P. Simpson's classification, belong to type B, however to different modes. The narrative perspective of O. Gavrosh's story belongs to type B narrarial mode, and Z. Menzatyuk's story point of view is classified as type B mode of reflector. It was observed that the categories of the type of point of view and the form of thoughts and speech presentation are interdependent, since the corresponding form of speech and thought representation prevails in the implementation of a particular point of view. The results of the research determined that the narratorial mode is characterized by the use of forms of direct thought to convey thoughts, because it has an effect in distancing the reader from the character, giving the narrator space for ironic comments. As for the mode of reflector, the free indirect form is more often used, because it can help to shorten the distance between the reader and the character's feelings and thoughts. [ABSTRACT FROM AUTHOR]

Voice-over narration features in various ways in contemporary TV series. One recent series that employs voice-over extensively is HBO’s Euphoria. In the series, the protagonist, Rue, narrates repeatedly in each episode of the first season and critics have labelled her voice-over with terms such as “unreliable” or “omniscient”. The aim of this article is to analyze the uses of character voice-over in Euphoria and to argue that such analysis require examining the theoretical terminology often applied to film and TV voice-overs. The article argues that character voice-over should not be defined based on a structuralist narratological conception of the narrator. Rather, voice-over should be approached within a framework of narrative rhetoric and viewed as a medium-specific rhetorical resource. The proposed view, as opposed to one classifying different types of voice-over narrators, is better able to explain how voice-over works in serial storytelling and how this resource is employed in Euphoria to create different effects and affect the audience in different ways.

In the creative process, the relationship of childhood with the act of writing reveals tangential defining elements, because metaphorically speaking, the writer is a perpetual child (not in the sense of immaturity, but in the sense of permanent search, youthful and playful curiosity, exploring originality), which it allows him to constantly present his world through the prism of a unique aspect. The article highlights the specific features of some examples of Soviet childhood, identified in the novels Din calidor by Paul Goma, Copil la ruși by Leo Butnaru, Grădina de sticlă by Tatiana Țîbuleac or in the story Copii în cătușele Siberiei by Spiridon Vangheli. The system of characters presented in these texts highlights a lesser-known side of the Soviet system, that of deportations/ immigration, abandonment etc. The numerous juvenile characters offer the reader a panoramic perspective on their childhood, as well as on the communist society with all its specific aspects. Among them political dogmas, the cohabitation of patriarchal traditions with communist propaganda, atheism, pioneering, multilingualism (especially Russian terminology) etc. Can be listed. However, this fact does not prevent the writers from presenting us with a sunny childhood, candid and full of age-specific adventures. In this way, the theme of childhood is always based on the idea of travelling in time, often nostalgic, meant to juxtapose the monotonous, complicated, problematic present of a fabulous, paradisiacal, mythical past, capitalizing on the dreams and aspirations of adults through the youthful perspective.

The homodiegetic narrator, emphasizing in his narrative emotional feelings of great sensitivity, often shows predispositions to lyricism. The source of this lyricism is located in the so-called original, artistic self, which works as a source of emotional irradiation that resonates in the person of the author. He, in turn, creates in the work, under the aspect of a fictional identity, a discursive instance, the narrator, following a human model, most often, his model. If the author himself as a person is marked by emotional exuberance, has inclinations towards the predominantly affective assessment of reality, then, mainly, his fictional self will be endowed with an emotional-psychological structure similar to his, so he will have a lyrical identity. And lyricism, intrinsic to the actual identity of the author, is called land. The article comprises some essential theses about the nature of land lyricism and its manifestations in the works written by M. Sadoveanu, L. Blaga, Z. Stancu.

The genre of the historical novel, in which the historical past is reconstructed, implies a special work of the writer with language - the main means of materializing, embodying and detailing the depicted historical reality. The artistic materialization of the objective world of the historical period, recreated in the novel under study is carried out by the author of the work through a description of household items and interior, beliefs and superstitions, the way of managing, ethics and speech culture, relations between estates, etc. Expressed by phraseological units, idiomatic expressions, dialect words, including obsolete reconstruction of the surrounding reality and the spiritual and psychological sphere, the inner world of the characters requires special attention of the translator. The purpose of the article is to comprehend and describe the ethnolinguistic units (phraseological word combination, idioms, dialect words, realities) found in Adam Mekebaevs historical novel A Cache in the Steppe, and to substantiate their translation into Russian. The author of the article is the author of the translation of the novel into Russian.

In our everyday discourse we make frequent reference to pictorial narratives. We exclaim on the hunt scene in the cave painting, the frenzy unfolding in the graffiti, the adventure of the baby in the book illustration, and the disintegration of a marriage in the oil painting. Yet a more precise question concerning narrators and their relation to these so-called pictorial narratives remains overlooked. Theoretical debates in narratology are still primarily focused on literary narratives and so pictures remain relatively neglected as a class. Kendall Walton is an exception. He argues that the literary narrator is necessary to provide access to the story as ‘he mediates the reader’s access to the rest of the fictional world’. He says that pictorial narratives cannot sustain narrators akin to literary counterparts. But this seems to be at odds with how we understand paintings such as Marriage A-la-Mode, where events are arguably recounted to the viewer with wicked humour. This paper has two main aims. The first is to set out what is meant by ‘pictorial narrators’ by providing a succinct and up-to-date guide to the discussions that have touched on this issue. The second is to explore the possibility that pictorial narratives imply pictorial narrators.

The article analyzes the peculiarities of the typological characteristics of Bruno Schultz's works. He was the representative of Polish modernism. The autobiographical character of the collection of stories "Cinnamon Shops" is revealed, and the explicit and implicit depiction of reality in the work is determined. The concept of childhood poetry is theoretically substantiated, and its structural components are set forth. The methods of creating the world of childhood were analyzed, and the features of its realization in the works of the named author were revealed. Bruno Schultz is the founder of the idea of the hermetic mythology of a place. Its mundane nature comprises delineating a geographical area with an infinite number of meanings and content. Schultz's classic prose became a generalized expression, a world structure of global significance. His two volumes of short tales, "Cinnamon Shops" and "Sanatorium beneath the Hourglass", placed him in the canon of 20th-century European literature. Bruno Schultz lived during a period of unprecedented political change when new civilized codes and identities for modern European countries were emerging. In his prose, a rare meta-culture of Central-Eastern Europe emerges through mythology. It is an opportunity to see the enormous possibilities of the past, from which the modern states of the Central European subcontinent emerged. Schultz would probably also be very useful in discussions about postmodernism because of the collage and fragmentary nature of his work and because of the fun he has with myths and parodies - in some places, it fits very well into postmodern practices, and Schultz can be considered one of their forerunners. [ABSTRACT FROM AUTHOR]

Although many literary critics have tried to prove that there is only one Brontë and that is Emily Brontë, who was a genius among the other two sisters, many readers are of the opinion that the three sisters, Emily, Charlotte, and Anne have written novels of the same type but with varying success. This assumption is natural and reasonable, because life gave them the same inclination to write, while they, as sisters, were closely related to each other at home and in the family. For the student and the critic, the case of these three sisters is challenging, because life seldom gives the same tendency to the three who were of the same blood and of the same generation, and who wrote novels of the same form, but relying in three different experiences (Long, 514-515). The novel "Wuthering Heights" is a kind of tragedy in the framework of realism, a work which, through concretely and convincingly presented characters of a place and time, speaks about the all-human and eternal theme: about the conflict of the free energy of the human being with conventions and codes and material interests that prevent it. The composition of this novel is its best artistic feature. To write the novel, Emily starts from the end of the events. Looking back, she unfolds the events first through the testimony of the witnesses and then through the narrator. Thus, none of the narrators is a tool of the novel's technique, but they give the impression that they are living people with different qualities and characters. [ABSTRACT FROM AUTHOR]

The book Trap with a Green Fence: Survival in Treblinka by Richard Glazar is about the testimony of personal experiences of the Jews who survived their own death in the Nazi extermination camps daily. The interpretation of the introduced novels from the point of view of the author's relation to the depicted reality (genre aspect, literary characters, documentarity, fabularity) stands in the centre of the paper. [ABSTRACT FROM AUTHOR]

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The voice of Dostoevsky-narrator is always live and theatrical. We can hear his voice that sounds spontaneously in the present tense. We perceive his changing timber, we can see that the writer strives to be scrupulous in passing on to the reader every minute detail, to prevent us from overlooking it. Sometimes there are doubts or musing in his voice. The narrator examines everything together with the reader, he is mounting adjectives, adverbs, participles before nouns. He makes sudden impulsive digressions, slows down, impedes the narration, he prolongs it nervously and convulsively up to making his manner tedious and at the same time captivating. Hence there appear choking fits, hyper-saturation, lengthiness, coarseness of the phrases. Usually all these tend to be softened and smoothed when translated into Spanish. Our grammar and literary conventions automatically ‘put everything in order’, keeping it under lock and key in the past tense, while Dostoevsky’s narrative lives, argues, debates, evolves in the present tense, being a sort of theater. The Spanish language, however, wants to make everything follow its rules. The article strives to study and demonstrate the characteristics of Dostoevsky’s “live style” in his novel The Idiot, and to discuss the possibilities and difficulties one is facing with when trying to reproduce them in Spanish.

The main goal of this article is to demonstrate the significant value of using narrative interviews in research on the education of talented learners. The authors decided to highlight the value of such research in the case of a specific group of learners. However, it might prove valuable to mention the special features of that method and some challenges that can appear in such research. The authors investigate the importance of applying narrative inquiry, especially narrative interviewing, in research on talented individuals. As for the research approach, it is embedded in qualitative methods. The authors present a retrospective secondary analysis based on their previous research into talented people’s experience of education, from an approach of both writer and reviewer. The introduction contains an outline of the subject of the text. Then, a description of narrative interviews and of talented learners is presented. The research method is also characterized. The previous results regarding talented learners’ experience of education are presented. Finally, the research results and recommendations for research practice are provided. The narrative interview technique proved to be a suitable method for the social sciences. It is appropriate for research on talented learners and their experiences within the educational process. Thanks to narrative interviews, researchers can reveal many important matters, such as learners’ intellectual talents and accomplishments, their relationships with themselves and other people, and some important common patterns of their functioning, such as perfectionism or non-conformism. Moreover, the research material can very rich and researchers can interpret it in very interesting ways so that the readers (educators and parents) can understand this particular group of learners and provide them with a convenient, conducive educational environment. The final section consists of some possibilities for researchers who want to use narrative interviewing as a method of research. The authors suggest obtaining some psychological and interpretative skills and building good relationships with the narrators.

This paper discusses the first-person point of view in Maugham’s ‘Mr Know-All’. It particularly analyses the narrator's position in relation to the story told in this short story, with the intention of disclosing the latter’s prejudice against Mr Kelada, the protagonist, and consequently, its hindrance to globalisation. It thus underlines the fact that this protagonist and other travellers are different colours, but one person on this ship epitomises globalisation. The general attitude of readers is that they are inclined to easily believe the narrator while forgetting that fiction is the work of a taler, a teller, but, first and foremost, a liar. The audience, whether it is disconnected from the setting or not, also tends to forget that ‘‘travellers from afar can lie with impunity’’. In fact, the nameless narrator in Maugham’s short story has a persona that leaves a lot to be desired. He is prejudiced against Mr Kelada, known as Mr Know-All, as will be evidenced by the scrutiny of his diction. This paper finally purports to show that those who proclaim globalisation loudly are not ready to live together. [ABSTRACT FROM AUTHOR]

Entrenched inequality within South African society has led to a notable focus within literary criticism on the subject of legitimacy. The perennial question of who has access to narrative representation and how this authority is wielded has informed literary production itself—with some writers, invariably emerging from the elite, attempting to circumvent or undermine the assumed claims of legitimacy which attend the novel. This article discusses how a particular modernist form, narratorial disidentification, coheres around this preoccupation with inequality and legitimacy, overturning idealist accounts of moral agency in history through an emphasis on the determination of the material environment. Narratorial disidentification subverts the normative structure of the novel, assuming that the legitimate subject of society is not narratable within the novel form. Drawing on the work of Warwick Research Collective (WReC), in particular their expanded sense of modernism, this article argues that experiences of social bifurcation in semi‐peripheral locations are translated into this form of narrative coldness which seeks to undermine readerly identification and emphasize externality. It indicates how Camus's The Stranger can be productively re‐read by considering the employment of this form by a number of South African novelists—from Nadine Gordimer's The Late Bourgeois World under apartheid, to postapartheid with Zoë Wicomb's Playing in The Light and Achmat Dangor's Bitter Fruit. This allows not only for formal continuities across apartheid‐postapartheid to be historicized, but offers a comparative lens for approaching novelistic form within global contexts of inequality. [ABSTRACT FROM AUTHOR]

There can be no narrative text without a narrator. Locating the source of narration is the starting point for an understanding of any narrative. There is no agreement among narratologists, nevertheless, on how the narrator could be located in a narrative text, in a so-called "third-person" fictional narrative, for instance, or in dramatic or cinematic narratives. The narrator should be ubiquitous in theory, yet is extremely elusive in practice. That is why there has hardly been any effort among scholars to offer a description of the general shape of the narrator. The present paper attempts to divide all narratives into a few categories in terms of narratorial transfiguration so as to reveal the narrator's various shapes, from a fully individuated flesh-and-blood person to a fictionalized character, to an almost totally depersonalized frame. The narrator, however, consistently functions as the source of the narrative discourse, sliding in a frame–person scalar duality, but always integrating both. The narrator's duality provides the key to a general narratology. [ABSTRACT FROM AUTHOR]

The article is the continuation of a study on the symbols of sunset in Dostoevsky’s works. Developing the idea of the ambivalence of the Unfading Light, the author shows how this idea is revealed in the novel The Adolescent. The originality of its disclosure is determined by the diegetic form of narration and the age-related psychology of the character-narrator, which is unique for Dostoevsky’s novels. Inclined to attach an exaggerated importance to his own thoughts and feelings, the adolescent captures and analyzes in detail his reactions to the light of the setting sun. This makes it possible to trace their dynamics, which corresponds to the dynamics of his growing up. It is noted that the semantics of the symbols of sunset is explicated not only in monologic episodes but also in the scenes that are seen through the eyes of Arkady. In these episodes, the semantics of the symbol is revealed indirectly: being hidden for the characters themselves (including the diegetic narrator), it is revealed to the reader through the description of their external actions and reactions. At the same time, the reader is prepared to comprehend the symbolic meaning of the image through reflections of Arkady, who definitely does not like the sunset in the first part of the novel and is able to joyfully react to it after the encounter with Makar. The appearance of this character in the novel significantly increases its “luminosity”: all scenes and monologic episodes, which reveal the ambivalence of the symbols of sunset, are concentrated in the third part of the novel and prepare that major chord of universal reconciliation and incipient transformation that sounds in the finale.

This article finds the sixth of María de Zayas y Sotomayor's Desengaños amorosos unique among all her novelasfor two elements: its dense intertextuality and its strikingly unreliable narrator. Achilles's transvestite initiation into heroic manhood is a trope replicated in sixteenth-century Spanish chivalric novels, seventeenth-century drama, and Amar solo porvencer. With both the plot and Matilde's shifty manner of telling it, Zayas acknowledges and revises the classical figure's cross-dressing performance. The result is a chilling assessment of her culture's eroding norms of manly behavior. [ABSTRACT FROM AUTHOR]

The structuralist-inspired development of narrative theories in France from the late 1960s onward has spawned a whole host of opportunities to explore the way narratives function. This is precisely what Gerald Prince undertakes in his Narratology: The Form and Functioning of Narrative, in which he delineates the mutual relationship between the narrator and the narratee as two of the most important constituents in any narrative. This framework is useful for the study of Robert Frost's narrative poetry, which comprised a large part of his oeuvre at a time when the form had become marginalized due to conforming to the poetic conventions that modernism tended to undermine. This research explores Frost's modernist take on this conventional genre through a narratological study of his poem "A Servant to Servants". [ABSTRACT FROM AUTHOR]

The prevalent belief in narrative studies that a narrator can appear as a character or possess a personality often leads to confusion and misunderstandings. Characters fundamentally exist within the story, including the narrating character who should be seen as a presence similar to the author of the story rather than a 'character narrator'. Furthermore, the narrator does not possess a personality, as its moral aspects primarily stem from the implied author or the characters. The narrator's existence relies on its function, serving as a proxy for executing the intentions of the implied author (sometimes transferred as the intentions of the characters), selecting narrative elements, organising them into text, and guiding the recipient's interpretive process. This perspective likens the narrator to the frame of a narrative, transforming it into a representation separate from the real world. De-anthropomorphising the narrator can have implications for several key narratology issues. [ABSTRACT FROM AUTHOR]