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

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Responsive technology and digital learning influence how Generation Alpha (born after 2010) communicates and interacts with media (parfitt 2019, joones 2018, li 2021). This study analyses Czech radio plays for children and adolescents, focusing on narrative strategies and motifs. Using the theory of fictional worlds (doležel 2003) and the audionarratology (mildorf 2016, huwiler 2014), the authors examine thirteen radio titles from 2020 to 2022. They explore how current technologies and implicit communication models are reflected in categories such as narrator, spacetime, and narrative techniques in contemporary audio production. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

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

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

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

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

The Tābiʿī period has an important role in the formation of the science of ḥadīth. The main purpose of this thesis is to identify the names of the female ḥadīth narrators of the Tābiʿī period and bring their narrations together, thus revealing their contributions to the science of ḥadīth by making these names known between the lines. In this context, the narrations of the female narrators of the tābiʿī period in the Kitāb al-Sitta were identified and brought together, their subject distributions were determined, their repetitions were identified, and the opportunities of women to access and transmit the narrations were examined. The thesis consists of an introduction, three chapters and a conclusion. In the introduction, the role of women in ḥadīth narration is emphasized. Through the literature review, 107 names of tābiʿī women narrators and 609 narrations were identified. The large number of numbers obtained necessitated grouping the data. In the first section, there are 6 tābiī female narrators with more than 30 narrations, in the second section, there are 27 tābiʿī female narrators with 3 to 30 narrations, and in the third section, there are 74 tābiʿī female narrators with less than three narrations. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

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

Copyright of Al-Zaytoonah University of Jordan Journal for Human & Social Studies is the property of Al-Zaytoonah University of Jordan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There are not many studies about river gods in Ovid’s Métamorphoses, and none are comprehensive. As shape-shifting deities, river gods perfectly fit for the poem’s subject. In Métamorphoses 8 and 9, Achelous plays the role of narrator. As a consequence, we might guess that Ovid gives him a reflexive function. Through this figure, he attempts to stand out from Virgil in order to show that his poetry is built on variation and self-citation, so that the poem seems inexhaustible.

The sciences of hadith are diverse, and each science has its importance. Some of them are specific to the chains of transmission, some are related to the text in particular, some include the chain of transmission and the text, some include both, and a large portion of them relates to the narrator. Among the sciences related to narrators are the sciences that reveal the person of the narrator, such as his name, surname, nickname, and whether he is accepted or not, etc. Although the hadith scholars paid attention to these sciences, this does not mean that they are neglected by the jurists, as they are the basic building block upon which the science of analysis and modification is based, which is the building block for judging the authenticity and weakness of a hadith. Through this research, we will clarify the work of one of the imams in these sciences through his books that have reached us, and he is Imam Muhammad bin Al-Hasan Al-Shaybani, the imam, the jurist, the diligent scholar, the companion of the greatest Imam Abu Hanifa. The research relied on the inductive and analytical approach. Although this imam is famous for his jurisprudence, we will find that his hadith skill is no less than his jurisprudential skill. Here we will search for some of the sciences related to the person of the narrator and the situation that appeared to us in the presence of this passionate Imam, and this is represented by an introduction and two sections, the first of which: his craftsmanship in the sciences that know the person of the narrator, and the second: his craftsmanship in the sciences that know the situation of the narrator, and then the conclusion. [ABSTRACT FROM AUTHOR]

Copyright of Arabic Language & Literature (1735-9767) is the property of University of Tehran and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kufa Studies Center Journal is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The diversity of Islamic sects, beliefs, and rulings has had various effects on the scientific and practical lives of Muslims. One of these effects is the determination of the narrator’s attributes in Hadith, which emphasizes that the narrator must adhere to the sect from which he or she received the Hadith and should not be an innovator since every sect considers other sects as innovators. But what is the concept of innovation? And is it acceptable to narrate from an innovator among all sects? What are the reasons for those who agree or disagree with narrating from an innovator? In this article, using a descriptive-analytical method and library research, we examine this principle in terms of narrator’s attributes and Hadith narration and answer these questions along with discussing some related topics such as mentioning some innovator narrators in Shia and Sunni ways. As a result, it has been determined that despite some opponents’ refusal to narrate from innovators, most Islamic sects absolutely or conditionally quote them since without their Hadiths, many sects’ Hadith heritage would significantly decrease. Furthermore, there are differences in the meaning and examples of innovation to such an extent that it is impossible to determine its precise meaning and example unanimously. Therefore, it cannot be considered a real criticism for a narrator regardless of his or her belief or action; rather, his or her truthfulness or falsehood should be considered important. [ABSTRACT FROM AUTHOR]

This overview essay on the implementation of narratology on reading and interpreting lyric poetry presents the main principles of the so-called lyricology, which is based on the thesis that narrative structures, such as the presence of agency, mediation and sequencing (the ordering of plot sequences), can also be observed in lyric poetry. This line of research has been followed by scholars at German universities, but has also found its way into the English-speaking academic world. The paper defines narratological concepts which are readily applicable to lyric poetry, such as focalisation, event, narrative reliability, and hierarchical stratification of the narrator (biographical author - abstract/implicit author - narrator/speaker - protagonist/character in the plot). The essay presents narratological analysis of lyric poetry as an innovative approach to the reading of lyric poetry, but also highlights the potential pitfalls of this approach and outlines appropriateness of its use. [ABSTRACT FROM AUTHOR]

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

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

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

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

Muhammad bin Umar al-Waāqidiī is one of the prominent biographers of the prophet Muhammad (peace and blessings be upon him). The narrations reported by him in his book of Maghaāzī and other sources such as al- tţabaqaāt of ibn Sa'd and al-tţabarī have been criticized and al- Waāqidiī have been labled as ghair thiqah (unauthentic) and Daiīf for various reasons. But the fact is different. In fact, the majority of those who raised objections to al-Waāqidiţ are also convinced that he is a pioneer of Maghaāziţ or Imam al Maghaāziţ. Also all his critics accept him as Hujjat in Maghaāziţ. Therefore, weighing the objections against al-Waāqidiţ in the balance of al-Jarh wa al- Ta'dil is necessary. This paper seeks to critically evaluate the allegations raised against al-Waāqidiţ as "Raāviţ" (narrator) in the light of Asma-al-Rijaāl books and the sources of his biography. [ABSTRACT FROM AUTHOR]

This paper aims to reading on the representation of the migrant-child subject, space and gender violence in three Peruvian stories: "El ñiño de Junto al Cielo" (1954) by Enrique Congrains Martín, "Montacerdos" (1981) by Cronwell Jara Jiménez, and "Brisas III" (2015) by Gerónimo Chuquicaña Saldaña. For this, a comparative, descriptive-interpretive study was carried out on the selected stories. Likewise, the categories migrant subject and heterogeneity proposed by Antonio Cornejo Polar, the types of narrator and focalization according to Mieke Bal and Gerard Genette, and the studies on gender by Pierre Bourdieu, Judith Butler and Norma Fuller were taken place. The analysis and interpretation will demonstrate that factors such as spatial context, marginalization, and gender violence significantly influence the migrant status and identity of the child protagonists in these narratives. These influences render them susceptible to violence, vulnerability, and insecurity. [ABSTRACT FROM AUTHOR]

Copyright of Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

José Saramago has repeatedly positioned himself against the use of the concept of narrator, often with categorical and provocative statements, seeking to take part in a theoretical-literary discussion that transcended his time andplace. By reflecting on the function of the literary quarrelin the construction and promotion of the writer-polemist, the purpose of this paper isto revive and deepen the debateproposed by the Portuguese Nobel laureate. Ouraim is to retrace his positions and a part of the history of the concept of the narrator, in orderto examine how this category is constructed in some of Saramago’s novels.

This article offers a reflection on the notion of the narrator in digital literature. It examines the epistemological and narratological issues related to the impact of digital devices on the narrative process. Additionally, it explores the interactive nature of storytelling, thereby challenging the traditional concept of the narrator, drawing from the works of Serge Bouchardeau and the analysis of a corpus of interactive narratives.

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

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

The French critic Philippe Lejeune drew the distinctive boundaries of autobiographical writing and the set of terms of trade in the text within a textual charter he called the epigraphic enactments, but this prevents the emergence of a new narrative. What this art imposes on a clear reference charter, by matching the writer's name with the central character narrator, After that, the so-called mixed narrative types appeared that fluctuate between biography and novel or story and biography, until in the last two decades we reached the popular term in Arab criticism “self-imagining”, where this term will become the subject of this study’s question. From this point of view, we will discuss in this article the study of my grandfather’s lanterns and my grandfather’s candies by Haitham Bahnam Barada, which responds in ma.ny aspects to this emerging writin. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Raf~ hadith is one of the most important hadiths that is cited in the principles of jurisprudence to prove the principle of Bera'at Shar'ee and has a wide application in jurisprudence. Some contemporary jurists have raised some problems regarding the documentary validity of this hadith and the ability to cite it. In this essay, by using the descriptive and analytical method, while criticizing and reviewing the views, we try to prove the documentary validity of the quotes that contain the phrase "Rofe'a ma la ya'almun", based on different bases in the validity of traditions and documents. In this regard, we have opened paths for the general and specific verification of the narrators and trust in issuing the theme of "Rofe'a Ma La Ya'almun" due to the reliability and multiplicity of narrations. [ABSTRACT FROM AUTHOR]

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Copyright of Mevzu is the property of Ali Sever and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

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

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

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