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In The Prince with the Sad Eyes, the short story that we will here interpret as a parable in the context of Jung's theory of archetypes, Andrić shows a woman torn between her real and idealized partner, and her suffering as a consequence of a lack of discernment in the matters of the heart, a lack of self-knowledge, and most of all, the influences of the archetypes of the collective unconscious - the animus and the shadow. Andrić thematizes projection as a psychological mechanism of falling in love, which rules interpersonal relationships in other contexts, too. Through this woman's infatuation with the prince, Andrić sheds light on phenomena that take place between men and women every day: projecting, expecting, and disappointment experienced as betrayal. One cannot live with the animus, the archetypal figure responsible for falling in love: once a relationship becomes reality (sexuality is here a metonymic replacement for the whole of their real life, the reality of a relationship) all projections start disappearing and in most cases, are replaced with their negative counterpart, as archetypes are essentially dual in meaning. In a parable about the permanent misunderstanding between sexes in the process of falling in love, Andrić uses biblical signals (the tree of knowledge, miraculous healing, the genre of the parable) to point to the wrongness of the depicted world, that is the imaginary heaven, pursued in the wrong way and in the wrong place.

Kur’ân’ı Kerîm, yaklaşık yirmi üç yıl zaman zarfında, Hz. Peygamber’e (s.a.v.) indirilen, insanları karanlıklardan aydınlığa çıkartan, tüm insanlar için evrensel bir mesaj, tüm Müslümanlar için de bağlayıcı ilahi bir kitaptır. Kur’ân’nın muhtevâsına baktığımızda bunun üç temel unsur üzerine inşâ edildiğini görürüz ki bunlar; itikad, amel ve ahlaktır. Temel gayesi, insanları dünyada saadete, ahirette de kurtuluşa ulaştırmak olan Kur’ân, bu sebeple her dönemde âlimlerin temel uğraşısı olmuştur. Kur’ân’la hemhâl olan her âlim, Kur’ân’ın anlaşılması noktasında farklı bir metod benimsemiştir. Bu âlimlerden biri de Memlüklerin hüküm sürdüğü yıllarda yaşamış olan Celâleddin es-Süyûtî’dir. (öl. 911/1505) Süyûti, Kur’ân’ın önemli bir bölümünü teşkil eden kıssaları, klasik müfessirlerin aksine farklı bir yol benimseyerek te’vîl etmeye çalışmıştır. Süyûtî’nin Kur’ân kıssalarına yaklaşımını ele aldığımız bu çalışmada, el-İklîl fî İstinbâti’t-Tenzîl adlı tefsir eserini örnek göstererek, bu tefsir eserinde yer alan kıssaların, klasik diğer tefsirlere göre tek bir yönünün bulunmadığı örneklerle izah edildi. Kur’ân’ın önemli bir kısmını oluşturan kıssalar, nazil olduğu dönemdeki muhatap kitleye Hz. Peygamber’in (s.a.v.) davet zamanı ile ilgili bilgiler sunarak, zihinlerde mâzi, hâl ve istikbale âit, muhatabın dünya-âhiret mutluluğu için bir profil meydana getirir. Kur’ân kıssaları, ilahi mesajın amacını gerçekleştirmede başvurulan bir vasıtadır. Müfessirler genellikle Kur’ân kıssalarını edebî-ahlakî açıdan ele almışlardır. Kıssaların, Hz. Peygamber’i (s.a.v.) ve müminleri teselli, düşmanları tehdit amacı taşıdığına dikkatleri çekmeye çalışmışlardır. Elbette böyle bir şey Kur’ân’ın büyük bir bölümünü oluşturan kıssaların tek gayesi değildir. Bu yönüyle kıssalara tek bir pencereden bakmak, Kur’ân’ı eksik anlamaya yol açabilir. Süyûtî’nin, Kur’ân kıssalarına nasıl yaklaştığı konusu çalışmamızın temelini oluşturacaktır. Konuya dair eserinden örnekler sunulacaktır. Bu yönüyle Süyûti’nin, kıssalara farklı bir pencereden yaklaştığını ve onlardan hüküm istinbât ettiğini görmüş olacağız., The Quran is a holy book revealed to Prophet Muhammed (s.a.w) within twenty years, brought people out of the darkness to the light, a universal message for all human beings, and is a binding divine book for all Muslims. When we obseve the content of the Quran, we see that it was built on three foundations; belief (iʿtiqad), deeds (amal), and ethics (akhlaq). The Quran, whose primary purpose is to bring people happiness in this world and salvation hereafter, has been the main concern of scholars in every period. Each scholar who communes with the Quran has adopted a different method for understanding the Quran. One of these scholars is Jalal al-Din al-Suyuti(died.911/1505), who lived during the reign of the Mamluks. Suyuti tried to interpret the stories (qasas) in the Quran, which constitute an important part of the Quran, by adopting a different way, unlike the interpretations (ta’wils) made by classical commentators (mufassirs). In this study, in which we discuss his approach to the Quran stories in his tafsir work called al-İqlîl fî Istinbati’t-Tanzîl, it will be pointed out that compared to other classical tafsirs, the stories are viewed from a different window. The stories, which form an significant part of the Qur'an, convey the events that happened in previous the and will have in the future, as well ass several information the as regards period in which it is located, for people to live a prosperous life and form a profile in the minds of the past, present and future time. Qur'anic Stories are one of the means used in realizing the purpose of the Qur'an. Savant of tafsir have generally looked at the Qur'anic Stories from a literary-moral point of view and have tried to withdraw caution to truth the that these ones Qur'anic Stories have the purpose of comforting the prophet and Muslims. Of course, stories have such a purpose, but this is not a basic purpose. The stories form a large part of the Qur'an. In this esteem, looking at the stories from a single point of view means understanding the Qur'an incompletely. The subject of how Suyuti approaches the tales of the Qur'an forms the basis of our study. We freedom try to present the examples in the book in command to the sense subject. In this respect, we will see that Suyuti approaches the stories from a different angle and draws conclusions from the stories.

В статье авторы рассматривают использование фольклорных мотивов в лирической прозе Эффенди Капиева. Исследование базируется на достижениях в области литературоведения и фольклористики. Основной акцент в работе сделан на приоритете идейного принципа в использовании фольклорных мотивов как основного средства формирования проблематики художественного произведения, его идейного назначения. Отражение целой системы фольклорных мотивов в лирике Э. Капиева позволяет говорить о своеобразии художественной манеры автора, ее уникальности. Авторы статьи подчеркивают, что фольклорное начало, нередко у одного и того же писателя, превалирует на начальном этапе его творчества, а затем оно как бы уходит в глубь произведений и не слишком бросается в глаза. Бывает и наоборот – на какой-то стадии развития своего творчества писатель использует фольклорные мотивы достаточно широко и обретает живой интерес к родному фольклору. Эффенди Капиев считал фольклор художественной традицией, которую надо старательно изучать и беречь. В устной поэзии горцев Э. Капиев увидел историю, характер народа, выражение лучших национальных традиций. Он долго вынашивал художественный замысел создания живого, колоритного образа современника. Э. Капиев в обращении к фольклору не идет легким, проторенным путем. Он берет народные жанры фольклора, переплавляет золотую руду народной поэзии и создает собственное звучащее слово, свою оригинальную художественную систему. В своем творчестве Капиев неразрывно связан с родной землей и опирается на опыт национальной литературы. Таким образом, воспитанный на традициях великой русской словесности и горской поэзии Э. Капиев поставил перед собой задачу – помочь своему народу осознать себя, свое прошлое и настоящее, сделать свой народ и его поэзию известной и близкой русскому читателю и другим народам., In the article, the authors consider the use of folklore motifs in the lyrical prose of Effendi Kapiev. The research is based on achievements in the field of literary studies and folklore studies. The main emphasis in the study is placed on the priority of the ideological principle in the use of folklore motifs as the main means of forming the problematic of a work of art, its ideological purpose. The reflection of a whole system of folklore motifs in the lyrics of E. Kapiev allows to talk about the originality of the author’s artistic manner, its uniqueness. The researchers of the article emphasize that folklore origin, often in the same writer, prevails at the initial stage of his work, and then it seems to go deep into the works and is not too conspicuous. Sometimes, on the contrary, at some stage of the development of his work, the writer uses folklore motifs quite widely and acquires a keen interest in his native folklore. Effendi Kapiev considered folklore an artistic tradition that should be diligently studied and cherished. In the oral poetry of the Highlanders, Kapiev saw the history, the character of the people, the expression of the best national traditions. For a long time he nurtured the artistic idea of creating a lively, colorful image of a contemporary. E. Kapiev does not go an easy, beaten path in addressing folklore. He takes folk genres of folklore, melts the gold ore of folk poetry and creates his own sounding word, his original artistic system. In his work Kapiev is inextricably linked with his native soil and relies on the experience of national literature Russian literature and mountain poetry, E. Kapiev has set himself the task of helping his people to realize themselves, their past and their present, to make their people known and close to the Russian reader and other peoples.

Nishitani and Neoplatonism both argue that overcoming the nihilism of non-being requires a confrontation with, and cultivation of, the experience of nothingness. This paper argues that the appreciation of nothingness is best realized in the practice of dialectic into dialogos, as adapted from the Socratic tradition. We argue that dialectic equips the self for the confrontation with nihilism, and is best suited to transforming the privative experience of nothingness into a superlative, collective experience of no-thingness. The practice of dialectic into dialogos exapts the nature of the self as a synthesis of being and non-being, and possibility and necessity, in and through its relationship to others, and to its own otherness within self-transcendence. Dialectic into dialogos can thereby become a central philosophical practice for responding to our contemporary meaning crisis by affording a generative process of meaning-making that can lead to personal and cultural transformation and communion within the culture – renewing communitas for new communities.

One of the most debated problems in the history of philosophy is the problem of evil. Since classical times, philosophers have started to think about evil, a phenomenon that exists in the world and that almost everyone encounters. With questions such as why there is evil in the world we live in or how we can deal with evil, the problem of evil began to be examined philosophically. However, this is not only unique to the history of philosophy, it is also a topic of discussion that religions with a tradition of revelation have dealt with. Religions such as Judaism, especially Christianity and Islām have to some extent dealt with this problem. The means by which these religions respond to this problem is different from that of philosophical explanation, in which the process of reasoning and each philosopher's own logical process is heavily involved. Philosophers have tried to explain evil within the framework of neo-platonism and argued that it is actually the absence of goodness. While matter takes its most concrete form at the lowest levels, it moves far away from the good. Therefore, distancing from the perfect brings evil. Scholastics and Islāmic theologians, on the other hand, have tried to show that the evil in the world is not incompatible and contradictory with the existence of God by providing explanations that are partially in line with the doctrine of their religion. These theologians sometimes went beyond the framework of the doctrine and carried their reasoning tools quite far. Philosophers and theologians have tried to act according to the religious tradition to which they belonged in offering some solutions to this problem. Nevertheless, they did not always take the religious tradition into consideration when providing these answers and often tried to produce philosophical answers. In the modern period, the problem of evil has been seen as the soft belly of the Abrahamic religions. Since the seventeenth century, it has become one of the strongest atheistic arguments and has been used intensively today. Academically, this issue has generally been dealt with within the framework of philosophy of religion. It seems possible to say that a Qur'an-oriented study is relatively rare compared to the philosophical one. Therefore, in this study, the researcher has tried to focus on some Qur'anic verses that can be associated with the problem of evil and to show the relationship between the concepts used in the Qur'an in this context. He then discusses whether some of the Qur'anic parables can be evaluated within the framework of theodicy. In addition, the researcher has tried to reveal the differences between the arguments and style in the Qur'an and philosophical theodicy, also called systematic theodicy, throughout this study., Felsefe tarihinde en çok tartışılan problemlerden biri kötülük problemidir. Klasik dönemlerden itibaren düşünürler ve filozoflar dünyada var olan ve hemen herkesin karşılaştığı bir olgu olan kötülük üzerinde düşünmeye başlamışlardır. Yaşadığımız dünyada neden kötülük vardır ya da kötülükle nasıl başa çıkabiliriz şeklindeki sorularla kötülük problemi felsefi olarak incelenmeye başlamıştır. Ancak bu sadece felsefe tarihine has değil, aynı zamanda vahiy geleneğine sahip olan dinlerin de uğraştığı bir tartışma konusudur. Yahudilik, özellikle de Hristiyanlık ve İslām gibi dinler bir dereceye kadar bu problemle ilgilenmişlerdir. Bu dinlerin bu soruna cevap verme araçları, akıl yürütme sürecinin ve her filozofun kendine has bir mantıksal sürecinin yoğun olarak devrede olduğu felsefi açıklamadakinden farklıdır. Filozoflar yeni-platonculuk çerçevesinde kötülüğü açıklamaya çalışmışlar ve bunun aslında iyiliğin yokluğu olduğunu savunmuşlardır. Madde en alt seviyelerde en somut halini alırken iyi olandan oldukça uzaklaşır. Dolayısıyla kemal olandan uzaklaşma kötülüğü getirir. Skolastikler ve İslām kelamcıları ise benimsedikleri dinin akidesine kısmen uygun açıklamalar getirerek dünyada bulunan kötülüğün Tanrı’nın varlığıyla uyumsuz ve çelişik olmadığını göstermeye çalışmışlardır. Söz konusu kelamcılar bazen de akidenin çerçevesi dışına çıkarak akıl yürütme araçlarını oldukça ileriye taşımışlardır. Filozoflar ve ilahiyatçılar bu soruna bir takım çözümler sunarken ait oldukları dinî geleneğe göre hareket etmeye çalışmışlardır. Ancak onlar bu cevapları verirken her zaman dinî geleneği göz önünde bulundurmamışlar ve çoğu zaman felsefî cevaplar üretmeye çalışmışlardır. Modern döneme gelindiğinde kötülük problemi teistik bir yapıya sahip olan semavi dinlerin adeta yumuşak karnı olarak görülmüştür. Kötülük problemi argümanı on yedinci asırdan itibaren yoğun bir şekilde ateistik argümanların en güçlüsü haline gelmiş ve günümüzde bu argüman yoğun bir şekilde kullanılmaya başlamıştır. Akademik olarak bu konu genellikle din felsefesi çerçevesinde ele alınmıştır. Kur’ân odaklı bir çalışma felsefi olana nispetle az olduğunu söylemek mümkün görünmektedir. Bundan dolayı bu çalışmada araştırmacı, kötülük problemi ile ilişkilendirilebilecek bazı Kur’ân ayetlerine yoğunlaşmaya ve bu bağlamda Kur’an’da kullanılmış olan kavramların birbirleriyle olan ilişkilerini göstermeye çalışmıştır. Daha sonra Kur’ân'da bulunan bazı kıssaların teodise çerçevesinde değerlendirilip değerlendirilemeyeceğini tartışmıştır. Ayrıca araştırmacı Kur’ân’daki argüman ve üslupla sistematik teodise de denilen felsefi teodise arasında farklılıkların nasıllığını bu çalışma boyunca ortaya çıkarmaya çalışmıştır.

One of the significant themes of the novel The Humiliated and the Insulted is the father’s curse, marked throughout the text by a high degree of emotionality. The novel describes two similar stories: the one of Nelly’s mother and Natasha’s. Both escaped from home, both were cursed by their fathers. However, there are also differences: while one father forgave, the other not. In the article, the theme of the father’s curse is revealed by comparing these two stories with the famous parable of the prodigal son, with which the novel presents visible parallels. The parable is presented as a standard for proper behavior, and in its comparison, we can say how the hero should have behaved and how he did in the novel. While the images of “prodigal children” recall each other, it is the behavior of parents that draws a significant difference between Dostoevsky’s plot and the parable. The presence or absence of the father’s curse is revealed as one of the main factors determining the fate of all the characters of the story.

The article examines narrative strategies in their historical dynamics. It singles out the so-called narrative worldview and the ethos of narrativity as basic parameters of a narrative strategy. Heroic legends and fairy tales inherited a precedent worldview and the ethos of peace from mythology. The post-mythological development of religious consciousness leads to a narrative strategy of the parable type that implies an imperative world model and prescriptive ethos, as implemented, for example, in the Old Testament. The narrative strategy of the New Testament stands out due to the constructive combination of the precedent worldview and a fundamentally new ethos of personal solidarity. The practice of telling jokes and ancient Greek adventure novels develop a circumstantial world model and the ethos of self-realization. Finally, the classic novel explores the probabilistic worldview and becomes a basis of several new narrative strategies that vary in their ethos.

The parable of the rich man and Lazarus (Lk 16:19–31) has attracted many interpretations from different cultural and theological contexts. But one thread that holds most of the works together is structural disparity in human society and the reality of judgement in the afterlife. This article re-reads the parable within the context of the coronavirus disease 2019 (COVID-19). This method of re-reading the parable in this particular context (of COVID-19) is to serve two major purposes within the Nigerian and global sphere. First, it demonstrates how humans in their (dis)ingenuity try to outwit the moral and theological, and even the eschatological, import it is meant to serve. Second, it elucidates that despite human efforts to manoeuvre theological truth, the faithful should be encouraged to abide in the truth.

The Struldbrugs episode occupies Chapter X at the end of Part III of Gulliver’s Travels. It features Immortals while Gulliver is in Luggnagg. It has often been read as an almost autonomous episode, and sometimes described as a fable. But it is nonetheless integrated into a narrative that has its own logic and structure. Its narrative construction leads to a reading that is different from that of Gulliver within the text. The philosophical reflection on death and immortality is inserted at a point that makes sense in the general economy of the work. Probably written last, the episode is set in a double time, in and out of a narrative sequence, within a travel narrative and outside a sequence of adventures. The Struldbrugs ultimately evoke the characters of literature, both mortal and immortal.

В статье рассматривается процесс развития творческой самостоятельности младших школьников посредством психолого-педагогических программ. Автором отмечается, что процесс развития творческой самостоятельности младших школьников должен быть целенаправленным и тщательно продуманным., The article examines the process of developing the creative independence of younger schoolchildren through psychological and pedagogical programs. The author notes that the process of developing the creative independence of primary school students should be purposeful and carefully thought out.

В каракалпакской фольклористике до сих пор не определены критерии жанров каракалпакской народ-ной прозы. Учёные фольклористы не пришли к единому научному заключению по этой проблеме, в связи с чем в науке существуют противоречивые выводы. Статья посвящена разработке этой проблемы. На основании изучаемых жанров каракалпакской народной прозы сделана попытка установить и определить основные критерии этого жанра. Статья предлагается как дискуссионный материал для исследования жанров каракалпакского фольклора., Up to nowadays criteria of the genres of Karakalpak folklore were not determined. The scholars-folklorists are didn't came to common conclusion on the research problem and therefore some inconsistent opinions still exist. On the base of studied genres of Karakalpak folk prose fixing and defining for criteria of the genre had been made. The article presented as a discussion material for research of the genres of Karakalpak folklore.

Аксиологический диапазон художественной литературы : сб. науч. статей [по материалам междунар. науч. конф.]. - Витебск : ВГУ имени П. М. Машерова, 2020. - С. 147-149. - Билиогр.: с. 149 (2 назв.)., В статье рассматривается разные нарратологические стратегии в рассказах А. П. Чехова от анекдота до притчи. Установлено, что уникальность авторского повествования создается за счет использования особого синтетического протожанра, основанного на смешении анекдотичной и притчевой составляющей. = Both parable and anecdote as narratological strategies in A. Chekhov's stories are considered in the article. It reveals the root of author style distinctiveness based on the mixing anecdotal and parable genres, providing as a basis for peculiar Chekhov's synthetic initial genre form.

İslâm öncesi döneme Kur’ân’da, “Cahiliye” adı verilmektedir. Bu ismin verilmesindeki etken ise okuma-yazma oranının düşüklüğü değil dine karşı takınılan kötü tavırdır. Çünkü her ne kadar Araplar yazma alanında zayıf olsalar da sözlü edebiyat alanında iyi durumdalardı. Ayrıca Cahiliyye adının verilmesi, bu dönemde hiçbir güzelliğin olmadığı anlamına da gelmemektedir. Bu dönemde, tevhid dinine bağlı olan ve güzel ahlâkıyla tanınan insanlara da rastlanmaktadır. Edebiyat, Cahiliye döneminin önemli bir unsuru idi. Öyle ki şairler ödüllendirilirdi ve şiir yarışmaları da yapılırdı. Dereceye giren şiirler de Ka’be duvarına asılırdı. Ayrıca hatipler de itibar görür ve kabile temsilcisi olarak yöneticilerle konuşurken sözcülük görevi yaparlardı. Bu dönemde edebiyat alanındaki yeteneklerini menfaat için sergileyen insanlar olduğu gibi topluma faydalı olma amacında olan kişiler de bulunmaktaydı. Câhiliyye dönemindeki edebî faaliyetlerden bahsedilirken her zaman şiir ön planda olmuştur. Ancak şiir kadar gündeme getirilmeyen nesir de bu dönemde en az şiir kadar revaç bulmuştur. Çünkü sosyal hayatın gereği olan birçok konuşma, nesir türünün içine girmektedir. Eksem b. Sayfi, Cahiliye döneminin tanınan kişilerindendir. Sağlıklı bir bakış açısına sahip olan Eksem, icra ettiği hutbeleriyle, kendi dönemindeki insanlara yol göstermiştir. Cahiliyenin tüm kötülüklerine rağmen o, tevhid inancına sahip bir insan olarak, herkesi tevhide ve güzel ahlaka çağırmıştır. Eksem, konuşmalarında gösterişten kaçınmış ve mümkün olduğu kadar sade konuşmaya çalışmıştır. Bununla birlikte Eksem, bazen edebi sanatları kullanmaktan da geri kalmamıştır.Bu makale; Câhiliyye kavramının analizi, Câhiliyye döneminde nesrin durumu ve önemli bir hatip olan Eksem b. Sayfî’nin edebî kişiliği konularını ele almaktadır. Çünkü İslâm’ın getirdiği güzelliklerin daha iyi anlaşılması için Cahiliyye döneminin tanınması önemlidir. Ayrıca Eksem b. Sayfi de bu dönemin önemli bir şahsiyetidir., In the Qur'an, the pre-Islamic period is called the "Jahiliyye". The reason for giving this name is not the low rate of literacy, but the bad attitude towards the religion. Because although Arabs were weak in the field of writing, they were good in oral literature. Besides, giving the name of Cahiliyye to this period does not mean that there is no beauty in it. In this period, people who are tied to the religion of monotheism and known for their beautiful morality are also encountered. Literature was an important element of the Jahiliyyah Era. So much so that poets were rewarded and poetry competitions were held. The poems entering the rank were hanged on the Kaaba wall. Speakers also earned a reputation and they acted as advocates while speaking to the administrators as tribal representatives. In this period, there were people those exhibited their talents in the field of literature for their benefit as well as those aimed to be useful for society. Poetry has always been in the foreground when talking about literary activi-ties during the period of Jahiliyye. However, the prose, which is not brought to the agenda as much as poetry, is at least as popular as poetry in this period. Because many conversations that are necessary for social life, fall into prose. One of the people known for the period of the Jahiliyyah was Eksem. Having a healthy perspective, Eksem led the people in his time with his khutbah. Despite all the wickedness of the Jahiliyye, he, as a man of faith in monotheism, invoked everyone to tawhid and good morals. Eksem avoided showing in his speech and he tried to speak as plain as possible. However, sometimes Eksem used the literary arts. This article deals with the subjects as the analysis of the Jahiliyye concept and the status of the prose in the Jahiliyyah era and the literary personality of Eksem b. Sayfi who was an important preacher. For the better recognition of the beauty brought by Islam is important to recognize the period of Jahiliyyah. Also, Eksem b. Sayfi is an important figure in this period.

İnsanlar arası ilişkilerin bilimsel buluşlarla, sosyal ve kültürel akımlarla sürekli geliştiği günler yaşıyoruz. Bu gelişmeler neticesinde insana dair birçok konu tartışılmaya başlanmıştır. Özellikle sınırların geçirgenliğinin artması, öteden beri insanı diğerlerinden ayıran ve özel kılan sınırların yeniden gözden geçirilmesine yol açmıştır. Bu anlamda insanın özel alanları ve mahremiyetleri gündeme gelmektedir.Mahremiyet, toplumsal alanda var olmanın bir unsuru olarak,İslam dininin değer verdiği konulardan biridir. İslam dininin yüce kitabı Kur’an, mahremiyet alanının insanın doğuştan getirdiği bir özellik olduğunu belirtir. Ayrıca Kur’an, muhatabı olan insanın, belli kurallar ve prensipler çerçevesinde toplum içinde yaşamasını istemektedir. Bu kurallara insanın uyması emredilmekte ve bu uyumdan dolayı belli mükâfatlar yahut cezalar gündeme getirilmektedir. Aslında mahremiyet denilen özel alanın belirlenmesi ve korunması farklı açılardan bir gerekliliktir. Zira bu konu bir yönüyle bireyin toplum içinde saygın bir duruşla yer almasına olanak sağlarken diğer yönüyle ailenin varlığını sağlam temeller üzerinde sürdürebilmesini sağlamaktadır. Bu hassas ve dengeli yapı, elbette ayetlerde de konu edinilmiş ve mahremiyet alanının korunmasına yönelik ilkeler ortaya konulmuştur.Kur’an ayetleri, insanların dünya ve ahiret saadetine ulaşması yolunda bazı örnek şahsiyetlerden söz etmektedir. Bunlar içerisinde özellikle peygamber olarak seçilmiş şahısların dikkate değer birörnekliği söz konusudur. Önceki peygamberlerin hayatları bu anlamda pek çok konuda referans alınabilecek prensiplere sahiptir. Bu çalışma,bize örnek olarak gösterilen peygamberlerin kıssalarını mahremiyet perspektifinden okumayı hedeflemektedir. Hz. Peygamber’den önce vahye muhatap olmuş peygamberlerden bahseden ayetlerin işaret ettiği mahremiyet konuları, ilgili ayetler eşliğinde sunulmaya çalışılacaktır., We live in the time that human relations constantly evolve with scientific discoveries, social and cultural currents. As a result of these developments, many issues related to human beings began discussed. Especially the increase of the permeability of the boundaries has led to a reconsideration of the boundaries that have made people special and different from others. In this sense, special areas and privacy of people become a current issue. Privacy, as an element of social existence, is one of the subjects of the religion of Islam. Qur'an, the supreme book of Islam, states that the domain of privacy is a trait that the human being bring. In addition, the Qur'an wants the person who is the interlocutor to live within the society in accordance with certain rules and principles. These rules are ordered to be obeyed and certain rewards or fines are mentioned due to this adaptation. In fact, the identification and protection of the private space called privacy is a necessity in different respects. In this respect, this issue enables the individual to take place in the society with are spectable stance, while in the other aspect enables the family to maintain its existence on solid foundations. This precision and balanced structure is also the subject of verses and principles for the protection of privacy are expressed for sure. Qur'an verses refer to some exemplary personalities in the way of achieving the happiness of the world and the afterlife. Among these, there is a remarkable example of the individuals chosen as prophets.The lives of previous prophets have principles that can be taken as reference in many aspects. This study aims to read the stories of the prophets shown as an example from the perspective of privacy. The privacy issues which were indicated by the verses mentioning prophets get revelation before Prophet Mohammed will present by the relevant verses.

In this article, the author rehearses the Lukan parable of the Friend at Midnight (Lk 11:5–8) as a segue from Insiders and Outsiders and a Hermeneutic of Resonance to provide a method she employs as an outsider sharing stories from and insights into a culture in which she was not born. She then connects her personal and existential experiences to the academic world of research.

This paper aims to comment the short prose of Florin Iaru, in particular, texts defined by the author as “stories with changed endings” (from the volumes Stories with Changed Endings and Green Breasts). In general, these texts are based on a playful intention, but unexpected, overturned climaxes reveal, in fact, the dramatic aspects of human existence. Therefore, the purpose of these stories is not the game itself, but a most striking presentation of harsh realities. The means used by the author to construct his texts are irony, intertext, allusion, etc. The conclusion is that, for the most part, the stories whit changed endings of Florin Iaru are parables, texts in which the truths of human existence are expressed allegorically.

In the Synoptic Gospels, listeners ask Jesus about the purpose of his parables. These Gospels provide two parallel accounts of this discussion (Mt 13:10-17 // Mk 4:10-12 // Lk 8:9-10 and Mt 13:34-35 // Mk 4:33). The version in Mark 4:10-12 particularly raises problems related to a sharp distinction between the 'mystery' that the 'insiders' understand, and 'parables', which are intended 'so that' the 'outsiders' would not understand, repent and be forgiven. Mark's reference to Isaiah 6:9-10 differs from the Masoretic Text (MT) and Septuagint (LXX) versions, but corresponds with the Aramaic Targum, which reads 'they may be forgiven' instead of 'and I would heal them'. It seems that the Markan Jesus deliberately uses parables to prevent 'those on the outside' from understanding, repentance and forgiveness. Luke retains the 'so that', but does not distinguish between the two groups that sharply, as he refers to 'others' and not 'those on the outside'. He omits Mark's apparent offensive phrase about the prevention of repentance and forgiveness. Matthew smooths out some of these difficulties by changing the 'so that' to 'because'. According to Matthew, Jesus speaks in parables because the people do not see, hear and understand. The reason for their inability to comprehend, is their rejection of Jesus. This article investigates these parallel passages to decipher the meaning within their textual context. The argument of this article is that these parallel statements should be read within the context of the parable of the sower to grasp their meaning.

A parable constitutes a genre, which means a literary form. To communicate a complex concept, the parable is employed. Jesus intends to elucidate the concept of Kingdom of God. Kingdom of human king is expressed in terms of space and time. Had the Kingdom of God been on par with the kingdom of human king, Jesus would have utilized the same parameters. When the concept transcends the realm of human experience, it compels one to have recourse to the parable. The parables do not depict historical reports, though the parables are constructed based on mundane matters of life, concrete conventions of society, and routine rituals of community. Therefore, the hearer/reader could associate herself/himself conveniently with one of the characters portrayed in the parable and, while pronouncing verdict on that character, she/he condones or condemns the self unknowingly or knowingly. In the process, the concept is comprehended and the befitting comportment of the hearer/reader is ascertained. In Matthew 25:1-13, Jesus offers the parable of the ten bridesmaids. &nbsp

В статье представлен обзор взглядов отечественных дореволюционных библеистов на евангельскую притчу. Первым евангельские притчи изучал архиеп. Сильвестр (Лебединский), он же одним из первых поставил в русской библеистике вопрос о контексте понимания притчи. Его подход соответствовал эпохе. Он понимал под притчей аллегорию, оттеняющую прямую речь изящностью образа, имеющую функцию усиления воздействия на слушателя. Схожего мнения придерживался и еп. Виталий (Гречулевич). Н. И. Виноградов пытался применить к изучению притчи научные знания своего времени, однако анализ его воззрений на притчу показал, что его работа представляет собой механическое соединение различных мнений, почерпнутых им из изученной разнообразной литературы. Исследование показало, что западнический подход оказался малоприменим в традиции русской библеистики к приточному материалу в попытке синтезировать его с православной догматической системой. Несмотря на кажущееся расширение кругозора выпускников духовных академий конца ХIХ в. можно утверждать, что созданное в духе времени сочинение архиеп. Сильвестра — значительно более фундаментальный, самостоятельный и непротиворечивый труд, посвященный евангельской притче, нежели последующие., The article provides an overview of the views of Russian pre-revolutionary biblical scholars on the Gospel parables. The first to study the Gospel parables was Archbishop Sylvester (Lebedinsky), who was one of the first to raise in Russian biblical studies the question of the context of understanding a parable. His approach corresponded to his time. He understood by a parable an allegory that obscures direct speech by the elegance of the image, which has the function of enhancing the impact on the listener. Bishop Vitaly (Grechulevich) was of the same opinion. N. Vinogradov tried to apply the scientific knowledge of his time to the study of parables, but an analysis of his views on parables showed that his work is a mechanical combination of various opinions drawn from the various literature he had studied. The study showed that the Westernist approach was of little use in the tradition of Russian biblical studies to the inflow material in an attempt to synthesize it with the Orthodox dogmatic system. Despite the apparent expansion of the horizons of graduates of theological academies of the late nineteenth century. It can be argued that the essay created in the spirit of the times by Archbishop Sylvester is a much more fundamental, independent and consistent work dedicated to the Gospel parable, rather than subsequent ones.

92-95 The article is devoted to the problem of moral development of children of primary school age. The article is devoted to features of the socialization of children with disabilities.

En este ensayo interpretamos algunas de las más complejas páginas de la novela de Cormac McCarthy The Crossing como “parábolas filosóficas”, es decir, como cuentos dentro de un cuento en los que el autor aborda algunas de las más estimulantes cuestiones filosóficas y éticas. Nos referimos a la ambigua relación entre vida (y muerte) humana y animal así como está conceptualizada en la figura del cazador; al complicado entramado de arraigo y andanza, destino y determinismo, sentido y sinsentido de toda vida; a la búsqueda de Dios como garante de una vida llena que nunca se puede alcanzar; a las condiciones de posibilidad de la verdad en la narración y en la historia. Finalmente, consideramos cómo la obra y la filosofía de McCarthy pueden ser interpretadas como parte de la literatura y del pensamiento postmoderno

Partant de l’analyse conceptuelle de Paul Ricœur sur les paraboles de l’Évangile, le propos de cet article vise à montrer comment C.S. Lewis (1898-1963) a recours à la parabolisation pour métaphoriser son discours apologétique. Par sa réécriture de textes fondateurs (récits cosmogoniques, scènes de tentation dans un jardin, répétition de la chute, expériences de conversion intérieure) qu’il insère dans sa fiction (Pilgrim’s Regress, Chroniques de Narnia, Perelandra), Lewis se réapproprie ce patrimoine esthétique et religieux qu'il réactive en y introduisant son expérience personnelle singulière (sa quête/conversion esthétique, philosophique et religieuse), qui, elle-même entre en résonance avec l'expérience universelle (celle de Saint Paul ou de Saint Augustin). Par son exemplarité, cette performativité de la parabole lewisienne, s'inscrit comme un maillon de plus dans la chaîne des expériences humaines (Ladrière). Ainsi la parabole lewisienne est-elle surdéterminée par son intertextualité et par les différentes strates subjectives auxquelles elle fait allusion : expérience originelle, expérience personnelle (de l’auteur), invitation au lecteur à vivre la même chose. La parabole évangélique rend compte d’un double mouvement : le royaume de Dieu se met en scène au travers de l'histoire (« story ») de Jésus qui s'inscrit elle-même dans l'histoire (« history ») des hommes et devient ainsi l’histoire du salut (à la fois « story » car racontée comme un conte/récit et « history » par sa dimension universelle). A un moindre degré, la parabole lewisienne décrit et décline cette même oscillation : mise en scène des différents acteurs dans une histoire singulière et universelle. Based on Paul Ricœur’s conceptual analysis of the Gospels’ parables, this paper will aim at showing how C.S. Lewis (1898-1963) resorted to parable telling as a way of metaphorizing his apologetic discourse. By revisiting foundational texts (cosmogonic stories, temptation scenes in a garden, repetition of lapsarian stories, experiences of inner conversion) inserted in his fiction (The Pilgrim’s Regress, The Chronicles of Narnia, Perelandra), Lewis appropriated that aesthetic and religious heritage which he reactivated by introducing his personal experience and his aesthetic, philosophical and religious quest in it. That experience echoed universal experience and Saint Paul’s and Saint Augustine’s conversion stories. Owing to its exemplarity, the performativity of the Lewisian parable can be inscribed within a network of similar human experiences (Ladrière). Therefore it is overdetermined by its intertextuality and the different subjective layers it refers to: the original experience, the author’s own experience and the reader is invited to experiment the same experience. The evangelical parable describes a two-fold movement: the kingdom of God is staged through Jesus’ story which itself is inscribed within men’s history then becoming the history of salvation (both seen as universal and a tell-tale story). To a lesser extent, Lewisian stories describe that oscillation: various protagonists are staged both in a singular and universal story.

Birds and beasts often appear in the Zhuangzi, in fables and parables meant to be read analogically as instructions for human thought and behavior. Whereas the analogical significance of some fables is obvious, in others it is obscure and in need of explication, and even the readily accessible can be made to yield more clarity thanks to commentaries. This paper explores contributions made by the commentaries of Guo Xiang (252&ndash, 312) and Cheng Xuanying (ca. 620&ndash, 670) to the understanding of such fables. Guo Xiang and Wang Bi 王弼 (226&ndash, 249) are the two most important figures in the xuanxue 玄學 &ldquo, arcane learning&rdquo, or &ldquo, Neo-Daoism&rdquo, movement of early medieval China (third to sixth century C.E.), which combined elements of Confucianism with the thought of Daoist foundational texts, especially the Daode jing (Classic of the Dao and Virtue) and the Zhuangzi (Sayings of Master Zhuang). Focus of the movement was the promotion of the concept and practice of the sage-ruler as a catalyst for the regeneration of self and society, leading to the foundation of a worldly utopia. Guo&rsquo, s is the earliest intact philosophical commentary to the Zhuangzi and one of the most widely read during premodern times. Cheng Xuanying composed the only subcommentary to Guo&rsquo, s commentary. Its more explicit style is most helpful in deciphering Guo&rsquo, s too often cryptic and elliptical statements. However, it also tends to shunt Guo&rsquo, s statecraft reading of the Zhuangzi more in the direction of explicating philosophical and religious dimensions of the text. Whereas Guo&rsquo, s observations about sagehood, self-fulfillment, and the good life largely focus on the sage-ruler and his relation to his people, Cheng&rsquo, s approach tends more to explore issues of personal self-realization and individual enlightenment, and, as such, is far more &ldquo, religious&rdquo, than Guo&rsquo, s. However, when it comes to accounts of birds and beasts, parodies and satires, which address the limitations, failures, delusions and faulty assumptions, narrow-mindedness, and other human foibles, both Guo and Cheng see them all rooted in self-conscious thought and knowledge, and thus deadly impediments to enlightenment. Other passages about beasts and birds use animal fables as exemplars of truth concerning endowed personal nature and the natural propensity to stay within the bounds of individual natural capacity. Since the commentaries of Guo and Cheng add important dimensions to these accounts, this study explores these as well.

El trabajo de investigación es parte de un estudio que busca analizar cómo los estudiantes llegan a la comprensión del concepto de parábola como una cónica, y las dificultades que encuentran en la construcción de este concepto matemático, para ello se ha utilizado el marco teórico de las Situaciones Didácticas, y la metodología de la Ingeniería Didáctica, apoyada en cuestionarios, entrevista y videograbaciones, y con la utilización de entornos informáticos. A partir del análisis en su fase didáctica se muestran algunos resultados sobre los procesos cognitivos y las dificultades que presentan los alumnos en el desarrollo de la comprensión /construcción del concepto de parábola.Palabras clave: Parábola, geogebra, sistemas de representación, situaciones didácticas, ingeniería didáctica.

Aad is a tribe which is told in some prophet parables as one of the destroyed tribes and whose historic information is sprawled in Quran. This so called name, by means of sens, states an appropriate significance to its condition. The word Aad taks part in Quran in twenty-four verses and the number of verses in which the situation is told hits to fiftynine verses. When taken into consideration the name Huud the number of verses connected with the subject reach to a number of seventyone. The God sent them Huud. But, very few people had believed in him. Despite everything, Huud had continued to guide them and communicate the message of the God. He hadn't surrender to their threats and pressures on him and on his believeres, on the cotrary, he had challenged them. Because he believed that what he did and what he said is true. Moreover, he had an infinite confidience in the God. His tribe, did not consider his warnings, and was destroyed by means of inevitable and strog whildwinds, earthquakes and violent thunder bolts by the God. This work has shown that the Aad which once lived in the south of the Arabian Peninsula were an old nation who were potent, tyrant, denier, and who were strictly devoted to their ancestors' beliefs and traditions. The disaster that happened to the Aad has come the truth to the fore which is the negative belief, attitude, and behaviours of the Aad are in the ascendant. Furthermore, keeping up with their distinctive attitudes has shown that the Aad were inconsistent and irrational. The Aad parable outlines the destroyed Aad's attitudes and warns every denier, materialist, tyrant and insubordinates to the Almighty Allah for not to fall into the situation of the Aad and to stand by right and to stand against tyranny.

Статья посвящена проблеме формирующего влияния жанрового инварианта притчи на структуру современного романа. «Хор» М. Палей действительно содержит ряд притчевых черт: «учительная» позиция автора, схематичность обрисовки персонажей, значимость ситуации выбора и т.д. Однако наряду с этим в романе происходит «слом» притчевой парадигмы: героя, поступающего правильно, ожидает негативный финал. Система таких притяжений и отталкиваний рассматривается как средство передачи авторского убеждения, формирующего «назидательный» пафос романа-притчи: необходимо искать выход из тотальной замкнутости человеческого существования; один из путей поиска Другого его постижение средствами творчества., Article is devoted to the issue of the forming influence of a genre invariant of a parable on the modern novel’s structure. “Chorus” by M. Paley contains a number of parable’s features: instructive position of the author, sketchiness of delineation of characters, the situation of the choice as the most significant point of a plot etc. However along with it there is “demolition” of a parable’s paradigm in the novel: the hero doing right things faces the negative final. The system of such attractions and differences is considered as a transmission medium of the author's belief forming “instructive” pathos of the parable novel: it is necessary to look for getting out of total isolation of human existence; possible way of searching of Other is comprehension by means of creativity.

The article is dedicated to the investigation of the principle of generalization in E.D. Zozulya’s short stories and feuilletons of 1910-1920th. The author concentrates his attention on different types of generalization: socio-political, moral, psychological and philosophical, which often synthesize into a single whole. In the writer’s works the interest to the inner world, processes in the human souls at the time of social cataclysms unites with humour. In E.D. Zozulya’s short stories written during the Civil War, which are close to anti-utopia, the author’s anticipation of consequences of inhuman Bolshevik politics is reflected. The feuilletons of 1920-th, on the contrary, demonstrate optimistic pathos. In the course of analysis the variety of stylistic devices used by the writer (allegory, grotesque, metaphor) and the fact of including genre dominants of parable, anti-utopia, animal epos and essay into the texts are accentuated. These means promote globalization of philosophical and socio-political generalizations.

Ideologies use for their conservation and propagation persuasive methods of communication: rhetoric. Rhetoric is analyzed from the semiotic and logical-mathematical points of view. The following hypotheses are established: 1 language L is a self-explanatory system, mediated by a successive series of systems of cultural conventions, 2 connotative significances of an ideological advertising rhetoric must be known, and 3 the notion of ideological information is a neutral notion that does not imply the valuation of ideology or its conditions of veracity or falsification. Rhetorical figures like metonymy, metaphor, parable analogy, and allegory are defined as relations. Metaphor and parable are order relations. Operations of metonymic and metaphoric substitution are defined and several theorems derived from these operations have been deduced. © 2014 Wiley Periodicals, Inc. Complexity 20: 63-81, 2014

Many scholars have regarded the parable of the shrewd manager (Lk 16:1–8) as the most puzzling of all parables as Jesus seems to use the unrighteous actions of a dishonest (worldly) manager as a model for emulation by others. The unease associated with this understanding was managed in part by focusing almost exclusively on the ‘shrewdness’ of the dishonest manager. In this interpretation, it is not his unjust behaviour that is to be imitated but his wise and intelligent actions. This interpretation has led to a divergence of applications regarding the ‘property’ that was entrusted to him. The author, however, argues that, in the context of the historical Jesus, the entrusted property in the parable references first and foremost the Torah entrusted to God’s people and that the manager mirrors the life of Jesus, who was ‘accused’ by the religious leaders of being unjust. Despite being threatened, he continued unabatedly to scatter God’s mercy, epitomised by the reduction of debt and symbolising the dawning of God’s Kingdom. The manager is therefore not a negative figure but a positive (diaphorical) example of what it means to be a faithful manager of God in the light of adversary and opposition.

L’introduction de la television par satellite en Tunisie a suscite un engouement remarquable chez les telespectateurs. Elle a conduit a une « parabolisation » massive des foyers, formant ainsi un veritable phenomene de societe qui figure parmi les mutations dominant la fin du dernier millenaire. Cet article examine de pres les differentes logiques des acteurs en presence. Il vise plus precisement, en adoptant une perspective pragmatique, la contextualisation du phenomene « parabole » en Tunisie en y incluant les dimensions historique, juridico-politique et socioculturelle. En d’autres termes, au-dela d’une vision fonctionnelle de la parabole en terme de communication, l’objectif de cet article est d’analyser comment les differents acteurs ici en jeu investissent cette technologie de significations et de representations et comment ils traduisent leurs representations et leurs interets a travers des strategies et des logiques qui les impliquent a des degres divers, tantot dans des confrontations directes, tantot dans des relations tactiques, tantot encore dans des alliances implicites.

En la lectura que el artista Alfred Kubin realiza de la obra ,,Un médico rural" de Franz Kafka nos encontramos con rasgos especialmente nuevos en el proceder del dibujante. Lejos de una representación violenta o enigmática del texto al que acompañan, las ilustraciones para esta obra de Kafka nos muestran un todo minucioso que acentúa la inseguridad del lector. Kubin es afín al autor checo y la consecución de fragmentos que también constituyen sus imágenes nos llevan a la irremediable "ruina", a la demolición. Kubin ilustra la inexistencia de una clave al crear una alegoría "verista" de la narración y, así, el lector se encuentra ante un universo de "fragmentos” que se atraen como campos magnéticos pero siguen manteniendo su singularidad. De esta manera, tanto Kubin como Kafka "retiran los soportes tradicionales del ademán para quedarse con un objeto de reflexión interminable". Alfred Kubin's interpretation of Franz Kafka's narrative "A Country Doctor" includes features which the illustrator had never used before. Far from depicting the text they accompany in a violent or enigmatic way, the illustrations Kubin conceived for this story show a meticulous world which accentuates the feeling of insecurity in the reader. Kubin and the Czech writer are kindred souls: his illustrations constitute fragments which lead the reader to an inevitable "ruin", to devastation. Kubin illustrates the inexistence of a key by creating a "veristic” allegory of the narrative and, thus, the reader discovers a universe of "fragments", which are attracted to each other as if they were magnetic fields, but which still maintain their singularity. And, by doing so, both Kubin and Kafka "remove the traditional medium for gesture to retain an object of never ending reflection".

The paper focuses on various examples of Polish literary reportage which draw upon parable, that is, a didactic story aimed at conveying moral, religious, philosophical, or existential principles by means of allegory, symbolism, and metaphor. The main purpose of the research is to examine the way in which contemporary reporters make use of contrast and analogy as tools for transferring documented facts to a universal level. In the article, the mechanism of parabolization shaped by both these devices is considered first in terms of content of reportage publication, and then with reference to the structure of journalistic narrative. The initial study includes parabolic parallels and antithesis in non-fiction books by Wojciech Jagielski and Katarzyna Surmiak-Domańska. The latter part discusses selected works by Mariusz Szczygieł and Witold Szabłowski regarding transcending literal meanings through the specific segmentation of body text. This dual analysis conducted in the paper is preceded by an introduction, in which the authoress argues the symbiotic relation between the notion of parable, the poetics of contrast, and the principle of analogy. She also presents the origins and development of parabolic reportage in twentieth-century Poland. A special emphasis is placed here on the so-called Aesopian language, which enabled reporters to pass the Communist censorship thanks to hidden political allusions and other features typical of parable. In the conclusion, the parabolic tendency is recognized as still valid in today’s Polish reportage, though different in significance and strictly associated with literary techniques of contrast and analogy.