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Klasik Arap edebiyatının önde gelen mizah şairlerinden Ebû Dülâme Zend b. Cevn el-Esedî el-Eşca‘î el-Ezdî (ö.161), Emevî Hilafetinin son dönemiyle Abbasi hilafetinin kuruluş dönemlerine şahitlik eden “muhadram şairler” kadrosunun en seçkin üyelerinden biridir. Abbasi hanedanının üç kudretli halifesi es-Seffâh, el-Mehdi ve el- Mansûr’un, her daim meclislerinde görmeyi arzuladığı, anekdot ve şiirlerini dinlemekten zevk aldığı muzip bir nüktedandır. Özel menfaati için kurguladığı hikâyeleri, uydurduğu rüyaları sayesinde bahsi geçen halifelerin iltifat ve teveccühlerine mazhar olmuş; hayatı boyunca da menfaat temini için izlediği türlü entrika ve stratejilerin meyvelerini toplamıştır. Çevresinde cereyan eden her hadiseyi, akıl almaz taktiklerle kendi lehine çevirebilen Ebû Dülâme sıradan bir “tufeylî” olmayıp, mizah yeteneği ile şiir dehasını başarıyla harmanlayan usta bir şair ve birinci sınıf bir nüktedandır. İşte bu tezde, klasik edeb kaynaklarında azımsanamayacak nüktesi bulunan; birinci el teracim ve tabakat eserlerinde, klasik Arap tarihi kaynaklarında dağınık da olsa hakkında epeyce bir malumat bulunan Şair Ebû Dülâme’nin sosyo-kültürel bir portresi sunulmaya çalışılmıştır. Abo Dolama Zand b. Cawn al-Asadi al-Ashcai al-Azdi (died 161) is one of the most distinguished members of the "muhadram poets" cadre, who witnessed the last period of the Umayyad Caliphate and the establishment periods of the Abbasid Caliphate. He is a mischievous humorist that the three mighty caliphs of the Abbasid dynasty, es-Seffah, al- Mahdi and al-Mansur, always wanted to see him in their assemblies and enjoyed listening to his anecdotes and poems. By means of the stories and dreams he made up for his private benefit, he received the compliments and favors of the aforementioned caliphs and throughout his life reaped the fruits of his intrigues and strategies he followed for the sake of gaining benefits. Abo Dolama, who can turn every situation in his favor through unbelievable tactics, is not an ordinary "tufayli", but rather a master poet and first-class humorist who successfully mixes his jokes and wits with his poetic genius. In this thesis, a socio-cultural portrait of the poet Abo Dolama will be tried to be presented, and the distinctive lines of the poet and his witty identity will be highlighted.

В предложенной статье рассматривается жанр рассказа-анекдота в эмигрантский период творчества С. Черного. Внимание автора статьи обращено к проблеме жанра анекдота и его проникновения в литературные жанры. Прослеживается ориентация на сказовость рассказов С. Черного. Выявляются композиционные особенности рассказов-анекдотов. Проанализированы рассказы «Наглядное обучение», «Греческий самодур», в которых отмечается присутствие анекдотической фабулы. Сделан вывод о том, что С. Черный в своих рассказах-анекдотах активно использует стандартные механизмы жанра, перекочевавшие из устного анекдота: неожиданная концовка, разрушение читательского ожидания, развитие сюжета по спирали вплоть до возникновения абсурдной ситуации., The proposed article examines the anecdote story genre in the emigrant period of work of S. Chorny. The author’s attention is drawn to the problem of the genre of anecdote and its immerse into literary genres. It traces the orientation of storytelling of Chorny's stories. Compositional specifics of anecdotes are identified. The stories «Naglyadnoe obuchenie» [Visual learning], «Grecheskij samodur» [Greek tyrant], where the presence of anecdotal story is established, have been analyzed. The conclusion is made that S. Chorny actively used standard mechanisms of the genre in his anecdote stories, which were drawn from oral anecdotes: unexpected ending, breaking the reader’s suspense, the development of the story in a spiral up to the absurd situation., Международный научно-исследовательский журнал, Выпуск 6 (120) 2022, Pages 55-57

В статье речь идет о художественной функции анекдота в повести Сергея Довлатова «Заповедник» (1983) и об отношении автора произведения к официозному пушкинскому мифу. В статье проводится мысль, что довлатовская деконструкция пушкинского мифа является в какой-то степени ироническим ответом на советскую канонизацию образа А.С. Пушкина и потому носит несколько сниженный, порой уничижительный, анекдотический характер, что не отменяет искренней непритворной любви автора повести к великому русскому поэту. В «Заповеднике» черты мифологизации Пушкина проявляются почти везде и всюду. Один из таких мифов, имеющих отношение к культу поэта в Пушкинском музее-заповеднике, — мотив подмены настоящих вещей и раритетов, когда-то принадлежавших поэту, позднейшими подделками, копиями, как сейчас принято говорить, «новоделами». Рассказчика возмущает, что в заповеднике пушкинский колорит воссоздается только за счет внешних (и не всегда аутентичных) атрибутов и примет. В процессе анализа рассматриваются интертекстуальные связи повести «Заповедник» с произведениями русской классической литературы XIX в. Отмечается также, что в повести ощутимо присутствие автора не только как рассказчика, повествователя, но и как основного персонажа, что придает достоверность, правдивость изображаемым событиям и характерам., The article deals with the artistic function of the anecdote in the story “Reserve” (1983) by Sergei Dovlatov and the attitude of the author of the work to the official myth about Pushkin. The article suggests that Dovlatov’s deconstruction of the myth about Pushkin is to some extent an ironic response to the Soviet canonization of the image of A.S. Pushkin and therefore bears a somewhat reduced, sometimes derogatory, anecdotal character, which does not negate the author’s sincere unfeigned love to the great Russian poet. Throughout his relatively short life, S. Dovlatov repeatedly turned to the works of Pushkin, to his judgments about literature. Dovlatov’s understanding 8 Comparative Literature Studies of the goal and purpose of literature is often in solidarity with Pushkin’s. So, in the story “Reserve” Dovlatov notes: “His (Pushkin. — S. D., A. D.) literature is higher than morality. It conquers morality and even replaces it. His literature is akin to prayer, nature ... ” [Dovlatov 2019: II, 237]. Dovlatov was also attracted by Pushkin’s idea that “the goal of poetry is poetry”. Thus, in a letter dated May 31, 1968, Komarovo to the prose writer, journalist L. Ya. Shtern Dovlatov categorically asserts: “As for autodeclarations about my stories, remember once and for all: literature has no purpose (Dovlatov’s italics. — S. D., A. D.). For me, literature is an expression of decency, conscience, freedom and pain of soul” [Little-known Dovlatov: 294]. In the “Reserve”, the features of mythologization of Pushkin are manifested almost everywhere. One of these myths related to the cult of the poet in the Pushkin Museum-Reserve is the motive of replacing real things and rarities that once belonged to the poet, later forgeries, copies, as they say now, “remakes”. The narrator is outraged that in the reserve, the Pushkin flavour is recreated only due to external (and not always authentic) attributes and features. At the same time, the autobiographical hero cannot or does not want to oppose anything to this cult of Pushkin in the museum-reserve. And hence the mockery and grumbling of the author of the story, an addiction to individual (albeit memorable) anecdotal situations and episodes that do not form a coherent and detailed plot. In the course of the analysis, the intertextual links between the story “Reserve” and the works of Russian classical literature of the 19th century are considered. It is also noted that the author’s presence is tangible in the story not only as a narrator, but also as the main character, which gives credibility and veracity to the depicted events and characters., Русистика и компаративистика, Выпуск 15 2022, Pages 7-29

Концепт «дочь» является одной из констант общечеловеческой картины мира. При этом он имеет ярко выраженную национальную специфику. Целью статьи является выявление концептуальных признаков данной ментальной единицы в русскоязычной картине мира. Научная новизна работы определяется тем, что впервые для реконструкции описываемого концепта используются русскоязычные прецедентные тексты юмористических жанров. Результат исследования – выявленная в ходе проведения лингвистического анализа обширная репрезентация концепта «дочь» в русскоязычных прецедентных текстах юмористических жанров. Характерной чертой концепта «дочь» является детерминация признаков возрастом дочери. Обнаружено, что концепт «дочь» раскрывается в трех основных аспектах: ребенок, подросток, взрослая женщина. Особое внимание авторами акцентировано на раскрытии взаимосвязи концептуальных признаков с социальными процессами в российском обществе, а также с психологическими особенностями развития личности., The concept of “daughter” is one of the constants of the human worldview. At the same time, it has pronounced national specifics. The purpose of the article is to reveal the conceptual characteristics of this mental unit in the Russian-language worldview. Scientific originality of the work lies in the fact that for the first time Russian language precedent texts of comic genres are used for the reconstruction of the above-mentioned concept. The authors focus on the detection of social processes and beliefs in Russian society that serve as a source of conceptual characteristics. In the course of the linguistic research, the authors have found that the concept “daughter” has the extensive representation in the Russian language precedent texts of comic genres. Peculiarity of the concept “daughter” derives from the correlation of the concept characteristics with the age of daughter. It is found that the concept of “daughter” is represented in three main aspects: a child, a teenager, an adult woman. The authors pay special attention to disclosing the interrelation of conceptual characteristics with social processes in Russian society, as well as with the psychological characteristics of personality development.

The purpose of the article is an attempt to comprehensively recreate the creative history of A. T. Averchenko's collection "Notes of the Simple-Minded" (1921) and solve the main problems of its study. The author formulates the significance of the cycle in the writer's legacy, defines its literary role and emphasizes that it is considered quite rarely, mainly in reviews. This is due to the relevance and scientific novelty of the research topic dedicated to the 100th anniversary of the book. Based on the materials of the Constantinople Franco-Russian newspaper Presse du Soir ("Evening Press") of 1920–1922, the first edition of the cycle is recreated, the artistic functions of the estrangement (dialogue between the author and the narrator) are characterized, discrepancies in the spelling of the hero's nickname are eliminated. The newspaper editorial office and the first separate Constantinople edition, which is a bibliographic rarity, are compared, which complicates textual work. The author of the article not only provides the results of the comparison (the appearance of framing, changing the structure, and so on), but also makes assumptions about the reasons for adjustments, sources of funding for the book, attracting little-known materials from the writer's archive. The reaction of "Russian Constantinople" to the book is characterized. The newspaper cycle and the Constantinople edition are further compared with the Berlin reprint of the "Notes of the Simple-Minded" in 1923, which became the most voluminous and thoughtful author's version of the cycle. The history of further, posthumous reprints of the book in Russia and in Europe is traced. Special attention is paid to the paradoxical political fate of the "Notes of the Simple-Minded". Coolly received by the Russian abroad, this book served Soviet propaganda after its publication in Moscow in 1922. The results of the study are applicable both in the work on the study of the legacy of emigration of the first wave in general and Arkady Averchenko in particular, and in the context of the analysis of the Russian laughing literature of the twentieth century., Целью статьи является попытка комплексного воссоздания творческой истории сборника А. Т. Аверченко «Записки Простодушного» (1921) и решения основных проблем его изучения. Автор формулирует значимость цикла в наследии писателя, определяет его литературную роль и подчеркивает, что он рассматривается достаточно редко, в основном в обзорах. Этим обусловлены актуальность и научная новизна темы исследования, приуроченного к 100-летию книги. По материалам константинопольской франко-русской газеты Presse du Soir («Вечерняя пресса») 1920–1922 гг. воссоздается первая редакция цикла, характеризуются художественные функции остранения (диалога автора и рассказчика), устраняются разночтения в написании прозвища героя. Сопоставляются газетная редакция и первое отдельное константинопольское издание, являющееся библиографической редкостью, что затрудняет текстологическую работу. Автор статьи не только приводит результаты сопоставления (появление обрамления, изменение структуры и так далее), но и высказывает предположения о причинах корректив, источниках финансирования книги, привлекая малоизвестные материалы архива писателя. Характеризуется реакция «русского Константинополя» на книгу. Газетный цикл и константинопольское издание далее сопоставляются с берлинским переизданием «Записок Простодушного» 1923 г., ставшим наиболее объемной и продуманной авторской версией цикла. Прослеживается история дальнейших, посмертных переизданий книги в России и в Европе. Отдельное внимание уделяется парадоксальной политической судьбе «Записок Простодушного». Прохладно встреченная русским зарубежьем, эта книга после выхода в 1922 г. в Москве послужила советской пропаганде. Результаты исследования применимы как в работе по изучению наследия эмиграции первой волны в целом и Аркадия Аверченко в частности, так и в контексте анализа отечественной смеховой литературы ХХ в., Вестник гуманитарного образования, Выпуск 4 (24) 2022, Pages 96-104

Des Observations sur Garrick au Paradoxe sur le comédien, la référence à l’Art du Théâtre de F. Riccoboni par Diderot mène à creuser le rapprochement du philosophe avec l’acteur-théoricien, autour de la primauté de la raison dans la théorie du jeu. La réinterprétation de l’anecdote sur l’acteur romain Ésope, emporté par son rôle, vers un jeu maitrisé et rationnel, synthétise le basculement de la théorie de la sensibilité vers une approche moderne, antimétaphysique et illuministe du jeu.

Представление о счастье является важным элементом любой культуры. Целью статьи является выявление концептуальных признаков данной ментальной единицы в русскоязычной картине мира. Научная новизна работы определяется тем, что впервые для реконструкции описываемого концепта используются русскоязычные прецедентные тексты юмористических жанров. Особое внимание авторами акцентировано на раскрытии взаимосвязи концептуальных признаков с социальными процессами и верованиями в Российском обществе. Результат исследования – выявленная в ходе проведения лингвистического анализа обширная репрезентация концепта «счастье» в русскоязычных прецедентных текстах юмористических жанров. Обнаружено, что концепт «счастье» раскрывается в четырех основных аспектах: попытки определить, что такое состояние счастья, отношение к нему, как его достичь и гендерный аспект. Особой чертой концепта «счастье» следует считать существование в структуре концепта антонимичных признаков. Причину данного явления авторы видят в процессах трансформации, которые претерпевает концепт в силу масштабных мировоззренческих перемен, происходящих в российской культуре., The concept of happiness is an essential element of any culture. The purpose of the article is to reveal the conceptual characteristics of this mental unit in the Russian-language worldview. Scientific originality of the work lies in the fact that for the first time Russian language precedent texts of comic genres are used for the reconstruction of the above-mentioned concept. The authors focus on the detection of social processes and beliefs in Russian society that serve as a source of conceptual characteristics. In the course of the linguistic research, the authors have found that the concept “happiness” has the extensive representation in the Russian language precedent texts of comic genres. The concept is represented in four main aspects: attempts to define what a state of happiness is, attitudes towards it, how to achieve it, and the gender aspect. Peculiarity of the concept “happiness” is the existence of antonymic characteristics in the structure of the concept. The authors come to the conclusion that the reason for this phenomenon can be explained by the transformation processes, the concept is undergoing, due to large-scale worldview changes taking place in Russian culture.

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The article under studies deals with the creative possibilities of an advertising text within modern arts. It is generally recognized that the main purpose of advertising is to turn a recipient into a consumer. The advertisers achieve this goal through implementing the four consecutive stages of affecting the receptive consciousness: drawing attention, arousing interest, stimulating desire and encouraging action, which requires a perfect form of presentation. For successful achievement of the above results, the advertisers use rational, emotional, logical, psychological and aesthetic means of persuasion all together. Consequently, advertisement, as a peculiar synthetic type of “aestheticized pragmatics”, does not reject the aesthetic constituent. In the course of perceiving an advertising text, there might occur certain teleological deviations: when the aesthetic component of advertising comes out in the receptive consciousness in the first place, the advertising text can acquire new semantic parameters and be transformed into a qualitatively different text. In this way, most advertising slogans are usually considered. Being separated from the original text, they turn into independent messages (such as proverbs, sayings, phraseologisms) and enter the flow of the contemporary communicative space of speech. Other phenomena, generated by the aesthetics of an advertising text, are numerous anecdotes and comedic sketches, which parody plot structures, themes, images and specifics of the speech of advertising texts, as well as act as autonomous genres. The article under discussion regards the generation of a new text as a free game within aesthetic communication, whereby the author (the advertiser) and the recipient (the consumer) become equally successful partners. In addition, the article contains the analysis of certain samples, in which the aesthetics of an advertising text annihilates its immanent utilitarian form and creates an independent fiction text. Thus, the aesthetic component of an advertising text turns into a particular creative motive, a driving force in generating new literary texts., Речь идет о креативных возможностях рекламного текста в пространстве современного искусства. Как известно, главной задачей рекламы является превращение реципиента в потребителя. Достижение основной цели осуществляется творцами рекламы через реализацию четырех последовательных этапов воздействия на рецептивное сознание: привлечение внимания, пробуждение интереса, стимулирование желания и побуждение действовать, что требует совершенной формы презентации. Для успешного решения этих задач рекламодатели используют рациональные, эмоциональные, логические, психологические и эстетические средства убеждения в комплексе. Отсюда реклама как особый синтетический вид „эстетизированной прагматики” не исключает эстетическую сторону рекламотворчества. В процессе восприятия рекламного текста могут наблюдаться определенные телеологические девиации: когда эстетический компонент рекламы выходит в рецептивном сознании на первое место, рекламный текст может приобрести новые содержательные параметры, трансформироваться в качественно иной текст. В таком ракурсе рассматриваются отдельные рекламные слоганы: отделившись от претекста, они превращаются в самостоятельные сообщения (наподобие пословиц, поговорок, фразеологизмов) и вливаются в поток современного коммуникативного речевого пространства. Следующим феноменом, порожденным эстетикой рекламного текста, являются многочисленные анекдоты, комедийные зарисовки, пародирующие сюжетные структуры, темы, образы, специфику речи рекламных текстов, выступая уже автономными жанрами. Генерация нового текста здесь рассмотрена как свободная игра в эстетической коммуникации, когда автор (рекламодатель) и реципиент становятся равноправными и успешными партнерами. Проанализированы отдельные образцы, в которых эстетика рекламного произведения аннулирует его имманентную утилитарную маркировку и создает самостоятельный художественный текст. Таким образом, эстетическая составляющая рекламного текста превращается в определенный креативный мотив, движущую силу в генерации новых литературных текстов., Йдеться про креативні можливості рекламного тексту в просторі сучасного мистецтва. Як відомо, головним завданням реклами є перетворення реципієнта на споживача. Досягнення основної мети здійснюється рекламотворцями через реалізацію чотирьох послідовних етапів впливу на рецептивну свідомість: привернення уваги, пробудження інтересу, стимулювання бажання і спонукання діяти, що вимагає досконалої форми презентації. Для успішного виконання зазначених завдань рекламодавці використовують раціональні, емоційні, логічні, психологічні та естетичні засоби переконання у комплексі. Звідси реклама як особливий синтетичний вид „естетизованої прагматики” не відкидає естетичний бік рекламотворчості. У процесі сприйняття рекламного тексту можуть спостерігатися певні телеологічні девіації: коли естетичний компонент реклами виходить у рецептивній свідомості на перше місце, рекламний текст може набувати нових змістових параметрів, трансформуватися у якісно інший текст. У такому ракурсі розглядаються окремі рекламні слогани: відокремившись від першотексту, вони перетворюються на самостійні повідомлення (на кшталт прислів’їв, приказок, фразеологізмів) та вливаються у потік сучасного комунікативного простору мовлення. Наступним феноменом, породженим естетикою рекламного тексту, постають численні анекдоти, комедійні замальовки, що пародіюють сюжетні структури, теми, образи, специфіку мовлення рекламних текстів, виступаючи вже автономними жанрами. Генерацію нового тексту тут розглянуто як вільну гру в естетичній комунікації, коли автор (рекламодавець) і реципієнт стають рівноправними та успішними партнерами. Проаналізовано окремі зразки, в яких естетика рекламного твору анулює його іманентну утилітарну маркованість і створює самостійний художній текст. У такий спосіб, естетичний складник рекламного тексту перетворюється на певний креативний мотив, рушійну силу в генерації нових літературних текстів.

When it comes to modernist exceptions, Jean Rhys appears as a particularly striking case in point: her marginality as a white creole woman writer who shunned the literary circles in both Paris and London, her notably twisted editorial history, her disappearance for twenty-five years and the retrospective rediscovery, in the 1960s, of her interwar texts, have sparked an ongoing debate about the question of her place in the modernist canon. Her experimental poetics, which was acknowledged as exceptional by Ford Madox Ford as early as 1927, is characterized by a sense of jaded experience, the juxtaposition of indifferent and even interchangeable places and people, as well as a semantic and syntactic minimalism based on repetition. The aim of this article is to show how Jean Rhys’s exceptionality as a modernist writer relies as much on her canonical unplaceability as, paradoxically, on her aesthetics of the unexceptional. Lorsque l’on parle d’« exceptions modernistes », l’exemple de Jean Rhys frappe par sa singularité : sa marginalité en tant que femme écrivain et « créole blanche » qui, à Londres comme à Paris, se tenait à l’écart des cercles littéraires ; les tours et détours notoires de sa fortune éditoriale ; sa disparition pendant vingt-cinq ans ; la redécouverte rétrospective, dans les années 1960, de ses textes écrits dans l’entre-deux-guerres ; tout cela a donné lieu à un débat toujours actuel au sujet de sa place dans le canon moderniste. Son écriture expérimentale, saluée comme exceptionnelle dès 1927 par Ford Madox Ford, est marquée par une tonalité désabusée, une indifférence subjective aux lieux et aux personnages, juxtaposés jusqu’à devenir interchangeables, ainsi que par une pauvreté sémantique et syntaxique fondée sur la répétition. Cet article se propose de montrer comment le caractère exceptionnel de Jean Rhys en tant qu’écrivain moderniste s’appuie tout autant sur sa marginalité par rapport au canon que, paradoxalement, sur son esthétique du non exceptionnel.

Patients often are apprehensive about starting biologic medications for their psoriasis. Typical fears include anxiety regarding possible side effects and reluctance in accepting their proven efficacy. In this study, we aimed to evaluate patients' willingness to take a biologic medication for their psoriasis if presented with clinical trial evidence, an anecdote, or both. A prospective online survey study was performed in 222 patients with psoriasis. Patients were randomized to receive clinical trial evidence of a biologic medication's efficacy and safety, an anecdote of a single patient's positive experience, or both. Responses were recorded on a 10-point Likert scale and evaluated using the Kruskal-Wallis test followed by Dunn test. Results indicated that presenting an anecdote-alone or in combination with clinical trial evidence-may be an effective way to improve patients' willingness to take a biologic medication for psoriasis.

Este proyecto nace de la iniciativa de reconocer la relación que tiene el humor familiar –de mi familia- con el conflicto armado colombiano, tomando como referencia historias y anécdotas que me han acompañado por años. Se divide en dos secciones principales, la investigación y la creación. Desde la investigación, el proyecto se enfoca en el análisis del humor como concepto y la familia como objeto de estudio. En cuanto a la creación, se hace una apuesta por la experimentación narrativa tomando como punto de partida lo anecdótico, cruzándolo con lo histórico. De esta forma se pretende un diálogo continuo con lo formal de lo investigativo, encarnado en la escritura, abandonando la idea de la escritura como un mero producto, y convirtiéndolo en un medio investigativo. This project was born from the initiative to recognize the relationship that family humor (my family) has with the Colombian armed conflict, taking as reference the family stories and anecdotes that have accompanied me for years, and is divided into two main sections, the investigation and creation, from the investigation the project focuses on the analysis of humor as a concept and the family as an object of study and in creation a commitment is made to narrative experimentation taking as a starting point the anecdotal crossing it with the historical, to de This form can be not only the result of the investigation but also an element of continuous dialogue with the formality of the investigation. ninguno

To read the title of this volume, you might think the subject is specifically Jewish education, and certainly that is the book’s organizing human-interest anecdote, to borrow from journalistic prac...

[ES] Elaboración de las primeras páginas de una novela gráfica. Se aborda tanto la creación de la parte literaria como de la parte gráfica y trata sobre los recuerdos en torno a la figura del abuelo materno del autor. En la memoria se recogen el proceso de investigación, ideación, preproducción y arte final de la extensión abarcada. El objetivo principal es obtener un planteamiento sólido y establecer un proceso de trabajo funcional que permita su continuación y la posible difusión a editoriales y concursos., [EN] Production of a series of pages and the cover for a graphic novel. The project presents both the development of the script and the development of the graphic part. It adrdesses the memories of author¿s maternal grandfather. Therefore, the document compiles the research process, the idea, the preproduction and the final arts of this fragment of the novel. The main objective is to get a solid approach wich will establish a working process to continue the rest of the novel and have the possibility to send it to publishing houses and contests.

Although numerous studies have analyzed empathy scores of allopathic and osteopathic medical students and how these scores fluctuate throughout undergraduate medical education, little is known about whether demographics have an impact on medical students’ empathy scores. Using the Balanced Emotional Empathy Scale (BEES) and Jefferson Scale of Empathy (JSE) surveys to measure affective and cognitive empathy, respectively, this present study examined the relationship between empathy scores with the following demographic data from first and second year students at a southeastern US osteopathic medical school: the classification of whether students came from a rural or urban background, the region of the US students lived in prior to matriculation to medical school, and the town/city size of where they were currently living at the time of applying to medical school. Data analyses showed only one statistically significant data point (p

Injusticia epistémica En diciembre de 2011, Samba Martine, interna del Centro de Internamiento para Extranjeros (CIE) de Aluche, muere de una infección evitable por no haber sido diagnosticada y tratada de manera adecuada, a pesar de haber solicitado insistentemente asistencia sanitaria. La madre de Samba, con el apoyo de varias entidades sociales, denuncia los hechos y llega a los tribunales. Ocho años más tarde, en junio de 2019, se anuncia la absolución por homicidio imprudente del único responsable procesado. Nueve años más tarde, en octubre de 2020, el Ministerio de la Presidencia, Relaciones con las Cortes y Memoria Democrática emite una Resolución por la que se atiende la reclamación de responsabilidad patrimonial por el fallecimiento de Samba Martine. Tomando como punto de partida este caso, este trabajo tiene como objetivo analizar los factores que hacen de él un ejemplo de injusticia epistémica en tres niveles interrelacionados: micro (localizada en el contexto de la relación asistencial), meso (desarrollada en el marco del CIE y sus mecanismos institucionales) y macro (vinculada al trasfondo ideológico y político que sustenta los niveles anteriores). La relevancia de esta propuesta radica en mostrar cómo la dejación de funciones por parte de la Administración y sus instituciones contribuye a generar una ignorancia, que, combinada con la falta de credibilidad del testimonio de la víctima, tiene como resultado final su muerte. Lejos de ser un caso anecdótico, situaciones de injusticia epistémica como esta forman parte de la cotidianeidad de numerosas personas migrantes indocumentadas, que después de periplos de sufrimiento terminan internadas en limbos legales como los CIE. In December 2011, Martine Samba, an inmate at the Aluche Foreigners Internment Center (CIE), died of a preventable infection due to not having been properly diagnosed and treated, despite having insistently requested healthcare. Samba's mother, with the support of various social entities, denounces the events and goes to court. Eight years later, in June 2019, the acquittal for reckless homicide of the only person prosecuted was announced. Nine years later, in October 2020, the Ministry of the Presidency, Relations with the Courts and Democratic Memory issues a Resolution in which the claim of patrimonial responsibility for the death of Martine Samba is addressed. Taking this case as a starting point, this work aims to analyze the factors that make it an example of epistemic injustice at three interrelated levels: micro (located in the context of the care relationship), meso (developed within the framework of the CIE and its institutional mechanisms) and macro (linked to the ideological and political background that sustains the previous levels). The relevance of this proposal lies in showing how the abandonment of functions by the Administration and its institutions contributes to generating ignorance. This ignorance, combined with the lack of credibility of the victim"s testimony, has as a final result her death. Far from being an anecdote, situations of epistemic injustice such as this are part of the daily life of many undocumented migrants who, after journeys of suffering, end up interned in legal limbos like the CIE.

In the introduction to her revelatory new book Empire of Style: Silk and Fashion in Tang China, BuYun Chen relates an anecdote about the Taiping Princess (d. 713), daughter of Emperor Gaozong (r. 6...

I would like to start this review with a personal, and pertinent, anecdote. A few years ago, I wrote a book about the wartime experience of Italy and Italians, which has not been translated into It...

In her newest groundbreaking book, however, Virginia Burrus complicates this narrative by weaving together vast expanses of philosophy, gender theory, and object-oriented ontology to unearth the unfamiliarity of early Christianity's relationship to the animate world. Perhaps the greatest strength of this structure lies in the "interludes," more free-style interjections that sometimes act as summary, other times as modern anecdote, but which always tie the reader intimately to the material, reminding us that we, like early Christians before us, are not separate from the biological community we inhabit. Part I, which takes John Sallis as its guide, focuses on the multifaceted manifestations of Plato's khora as a third cause that haunts the creation of the universe. Since khora constitutes the very "power and possibility of materialization," Burrus postulates that, for early Christian and Jewish authors, thinking about god could not be divorced from thinking ecologically (72).

The article highlights the specifics of the anecdotes that were published on the pages of the newspaper “Ukraina Moloda” ("Ukraine Young") during 2018-2019. The process of origin and development of anecdote in Ukrainian literature and journalism is based on the factual material, theoretical developments in the field of genre. The article briefly reveals the genesis of anecdote in Ukraine from ancient times to the present days.Attention is drawn to the fact that the ridiculous side of ordinary everyday circumstances in the anecdote genre is so sharpened that they stand on the line between the real and the impossible. For it, sometimes such situations are selected which, by their content and essence, are not widely publicized and can only be narrated in a particular society.The conducted analysis showed that during the last two years anecdotes were regularly published on the pages of "Ukraina Moloda" under the headlines "Jokes about Odessa citizens", "Jokes about mothers-in-law and daughters-in-law", “Jokes about deputies" and others. A total of nine hundred anecdotes have been released, which is an evidence of only one possible form of anecdote as a journalism genre in the print media system. At the same time, old anecdotes also often hit the headlines of a popular publication, resulting in a humorous-satirical intertext with new evaluations of reality, new meanings and associations - a kind of "comic goldword". Just from this source, authors of analytical articles, commentaries, or feuilletons take the best samples of anecdotes to clarify their thoughts. In this way, the addressees appeal to the reader's experience of the recipients, relying on an adequate perception of not only popular past anecdotes, but also of contemporary social processes and circumstances.Genre typology of anecdotes published in "Ukraina Moloda" newspaper is from political "Jokes about Putin", "Jokes about Yanukovych" and other specific individuals of the State Duma, to life jokes — “Jokes abut Food" and more.A study of the organizational and publishing history of "Ukraina Moloda" newspaper and the analysis of anecdotes published on its pages over the past two years suggest that this publication holds a significant place in Ukrainian journalism at the beginning of the 21st century.

There are stories that, though not necessarily authentic, are so plausible that you want them to be true. During my last stay in Russia, I was told an anecdote of this type. One of the lecturers at a recent summer school on formal methods organized by the Steklov Institute of Mathematics in Saint-Petersburg asked the participants to raise their hands if they worked for the industry. Around 70% of the audience raised their hands. Then the lecturer asked the industrial participants whether they perceived themselves as unful lled mathematicians and, again, around 70% of them acknowledged that. I believe this story because it perfectly matches my understanding of the state of fundamental research in Russia. Russian academia has been badly affected by political turmoils of the post- Soviet era. Decent full-time academic research positions are still in rare supply in the country. This is particularly the case in computing, where industrial job offers are numerous and attractive. As a result, a vast majority of Russian university graduates who, under more welcoming circumstances, would choose academic careers, take engineering, R&D and managing positions in the software industry. However, after getting a taste of science during their undergrad studies (of traditionally high quality), many of them hold a lot respect for fundamental research. They keep an eye on academic publications and, whenever possible, attend scienti c conferences and topic-speci c educational events.

In this article, Nikolai Polevoy’s play Parasha Sibiryachka (1840) is analyzed as an instrument of influence on Emperor Nicholas I. The plot of the play in this perspective can be understood as a direct appeal to the authorities to grant mercy and change the fate of the disgraced writer. Polevoy encodes an anecdote from the early history of Alexander the First’s reign into the signs of Nicholas the First’s «scenario of power», expecting that each of these signs will be correctly read in the Emperor’s box. However, Polevoy’s plan did not come to fruition, and Parasha Sibiryachka did not lead to any radical changes in the life of its author, despite its theatrical success and attention from the tsar. The cause of this, as explained in the article, was crisis of the paternalistic model of the theater economy, in which a high patron remained the only source of capitalization for the author’s work. The case of Parasha Sibiryachka simultaneously shows that new (probably, market) mechanisms of the theater economy, which were theoretically described by Polevoy himself, had not yet taken shape in Russia by the beginning of the 1840s. The article proposes Leib-kucher Petra III , an 1800 play by A. von Kotzebue, together with the incredible biographical anecdote associated with it, as both an inspiration for Polevoy’s strategy and the source of his play. The German playwright was sent to Siberia and then returned to Petersburg and showered with favors for his play, which somewhat resembles Parasha Sibiryachka on the levels of composition and plot. The failure of Polevoy’s attempt to play the “Kotzebue scenario” is described in the article as a symptom of the changed economic relations in the Russian theater. DOI: 10.31168/2305-6754.2019.8.2.9