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This study described the experiences, analyzed the reasons for bullying, and described the lessons learned by the disheartened learners of a central elementary school. The study employed a qualitative narrative case study approach, with five learners as the participants. Semi-structured interview guide questions were formulated and divided into three parts: beginning, middle and ending stories. These questions were designed to gather rich, in-depth information about the learners' experiences and perspectives. The beginning stories revealed the following emergent themes: physical abuse, verbal abuse, poverty, upsetting, unmotivated, ashamed and doubted. The middle stories had the following emergent themes: bullying as revenge, haughty bullies, discrimination, afraid to retaliate, ignoring, skipping school, seeking justice, and call parent's attention. The ending stories had the following themes: perseverance, do not harm others, striving, calmness, faithful, and trust in the teacher's authority. This study sheds light on the often-overlooked voices of disheartened learners, emphasizing the need for educational systems worldwide to prioritize student well-being and provide support for those who may be struggling. [ABSTRACT FROM AUTHOR]

This article examines humanist anecdotes about the turbulent times of the mid-twentieth century by F. C. Weiskopf and Lenka Reinerová. It provides a comparative reading of Weiskopf's Elend und Größe unserer Tage. Anekdoten 1933–1947 (1950) and Reinerová's "Tragischer Irrtum und richtige Diagnose" (published in Mandelduft, 1998). The anecdotal form of these texts harks back to the popular Enlightenment (Volksaufklärung) anecdotes of Heinrich von Kleist and Johann Peter Hebel, published in 1810–1811 during the Napoleonic Wars. The anecdote as a literary form is particularly well suited to the representation of wartime and political repression. While Weiskopf's anecdotes explore cruelty and heroism under the Nazi dictatorship, Reinerová's autobiographical text juxtaposes crisis points in her own life—her time as a political prisoner in France in 1939 and in Czechoslovakia in 1952–1953; her return to Prague as her family's sole survivor; and her periodic cancer treatment from 1948 onwards. Reinerová describes how the kindness of ordinary people, and her own optimism and resilience, helped her through the worst times. Her lived experience gives her authority as a storyteller in Walter Benjamin's sense. Both authors contrast human extremes—the good and the bad—yet both remain optimistic about the human capacity for good. [ABSTRACT FROM AUTHOR]

Understanding the context of products of folklore is of great importance for conducting accurate studies on these products. This is because a folklore product can have different names and functions in different contexts. Therefore, to obtain reliable results in any study based on these products, it is essential to gather information about the context in which the products were created. For this reason, the significance of the contexts of folklore products has been emphasized in previous studies. This study, however, will discuss the changes and transformations of a narrative in different contexts. The study population includes a narrative cited as a legend in Diyarbakır and an anecdote in Sivas. Both texts recount the tale of villagers who are bothered by the sun in their eyes while traveling to the city center in the morning and voice their complaints to the rulers. This study, which was conducted on the noteworthy fact that the same event is presented as a legend in one context and as an anecdote in another, compares the legend and anecdote texts in terms of the event, people, time, place, narrator, context, and function. The result of the comparison revealed no differences in structural features, such as the context of narrative formation, subject, event, persons, time, place, and narrator. However, it was concluded that the narratives were told under two different genres, legend, and anecdote, due to the change in the functions of the narrative in the contexts in which they were retold. [ABSTRACT FROM AUTHOR]

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This article analyses how Katharina Hacker's 2022 novel Die Gäste experiments with interspecies relations that upend the anthropocentric view of planetary life to bring into view an ethics of narrative hospitality. Focusing on the role of the animals, especially the rat protagonists, I argue that the novel employs anthropomorphism to refute the reductive view of the rat as a lower-order animal without cognition and emotions, while also rejecting the common allegorization of the animal protagonist as a human actor in animal disguise. Drawing on the Kayser versus Bahktin debate of the grotesque in dialogue with posthumanist theories, the article shows how Hacker combines the carnivalesque strand of the grotesque with anecdotal rendition as narrative modes that make possible the kind of interspecies assemblages that posthumanism advocates. By inviting the reader 'to think like a rat', the novel explores ways of overcoming speciecism and human exceptionalism in favour of an entangled and relational world view. [ABSTRACT FROM AUTHOR]

The aim of the study is to examine the anecdotes Hitar Petar and Nasreddin Hodja, which are similar to each other in terms of their subjects, in terms of their common and different aspects. Examining the similarities and differences in the anecdotes told based on two important anecdotes types that have gained a national identity, such as Hitar Petar and Nasreddin Hodja, is important in revealing the mutual influences of two people who have shared the same geography for centuries. Textcentered classification method and comparison method were used in the study. At the same time, MAXQDA Qualitative Data Analysis Program was used and the analyzes obtained from the program were used in the study. When Hitar Petar and Nasreddin Hodja anecdotes are researched in terms of their subjects, it is seen that the focus of the anecdotes is the relationships established in social life and the distortions arising from these relationships. In addition, when anecdotes between Hitar Petar and Nasreddin Hodja anecdotes, which are similar to each other in terms of their subjects, were compared, it was determined that there were many common and different elements. It has been observed that there are anecdotes in which the development and conclusion sections follow different introductory sections that are similar to each other. At the same time, although the criticized behavior and the main idea have similar characteristics, anecdotes with differences in different dimensions have been identified. [ABSTRACT FROM AUTHOR]

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Copyright of Bamboo & Silk is the property of Brill Academic Publishers 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 article substantiates the problem of performing translation analysis of cross-cultural incongruity in English anecdotes in Ukrainian translation using the methodology consisting of four methodological blocks (qualification, linguocultural, linguistic, and translation ones). The purpose of the article is to justify the presented cognitive and discursive methodology for translation analysis of cross-cultural incongruity when transferring the comic in English anecdotes into Ukrainian. The tasks of the research are the following: to characterize the methods of linguistic and cultural analysis in the study of the ethnocultural specificity of the conceptual picture of the world embodied in English anecdotes; to describe the methods of linguistic analysis of verbal means of expressing the comic in English anecdotes; to analyze the strategies and tactics of rendering the comic in Ukrainian translation of English anecdotes. The research material is taken from anecdotes in translation, presented in the collections Awesome Jokes by S. Keller and the resource 1001 Jokes by R. Wiseman on the Internet site, which were rendered into Ukrainian mostly by amateur translators, and in which comic effect was adequately represented in translation. 1112 anecdotes were studied, including 807 context realization of key concepts of the comic in original and translation. The research methodology of translation analysis of cross-cultural incongruity in English anecdotes during their translation into Ukrainian, in addition to the application of general scientific methods of analysis, synthesis, systematization, and induction, relies on the methodological base of linguocultural studies, cognitive linguistics, and translation studies. The cognitive and discursive nature of the research determines the choice of presentation of the research methodology in the form of methodological blocks, which include qualification, linguistic and cultural, linguistic and translation blocks. The qualification methodological block is a selection of relevant empirical material and general characterization of the phenomenon of the comic from the perspective of linguocultural, linguistic, and translation studies aspects of the incongruity of the English anecdote and supposes the method of continuous sampling. Further, the study of crosscultural incongruity caused by the ethnocultural features of the conceptual worldviews of the English and Ukrainian peoples presupposes the use of methods of linguocultural analysis constituting the linguocultural methodological block: the method of cultural and historical analysis, linguocultural analysis, interpretive and textual analysis, conceptual analysis, comparative analysis. Cross-cultural incongruity caused by the systemic and structural features of the linguistic world pictures of Englishmen and Ukrainians determines the use of methods of linguistic analysis in the linguistic methodological block: methods of contextual, distributive, component, and linguostylistic analysis. The study of the means of translation of verbal means of creating the comic in the translations of anecdotes into Ukrainian determines applying translational and transformational analysis which constitute the translation methodological block. The article argues that using the described methodology consisting of four methodological blocks (qualification, linguocultural, linguistic, and translation ones) allows us to draw the regularities in solving the problem of cross-cultural incongruity when translating English anecdotes into Ukrainian, thus connecting the type of incongruity with the means of its representation in translation.

This article examines humanist anecdotes about the turbulent times of the mid-twentieth century by F. C. Weiskopf and Lenka Reinerová. It provides a comparative reading of Weiskopf’s Elend und Größe unserer Tage. Anekdoten 1933–1947 (1950) and Reinerová’s “Tragischer Irrtum und richtige Diagnose” (published in Mandelduft, 1998). The anecdotal form of these texts harks back to the popular Enlightenment (Volksaufklärung) anecdotes of Heinrich von Kleist and Johann Peter Hebel, published in 1810–1811 during the Napoleonic Wars. The anecdote as a literary form is particularly well suited to the representation of wartime and political repression. While Weiskopf’s anecdotes explore cruelty and heroism under the Nazi dictatorship, Reinerová’s autobiographical text juxtaposes crisis points in her own life—her time as a political prisoner in France in 1939 and in Czechoslovakia in 1952–1953; her return to Prague as her family’s sole survivor; and her periodic cancer treatment from 1948 onwards. Reinerová describes how the kindness of ordinary people, and her own optimism and resilience, helped her through the worst times. Her lived experience gives her authority as a storyteller in Walter Benjamin’s sense. Both authors contrast human extremes—the good and the bad—yet both remain optimistic about the human capacity for good.

The following contribution examines the possibility of a revival of the ‘anecdote’ in contemporary Italian poetry. After introducing the notion of short forms (Montandon, 2001) or simple forms (Jolles, 1930) we will focus on the anecdote’s features and its use within three collections of contemporary Italian poetry, respectively: Le fuggitive by Carmen Gallo, Fuoco degli occhi by Marilena Renda and Betelgeuse e altre poesie scientifiche by Franco Buffoni.

Introduction One of the persisting issues about Sa'adi’s Gulestān is the question of whether or not there is a structure and system in its text. Some consider the anecdotes of Gulestān as lacking order and semantic connection, while others believe in the existence of a measured, symmetrical and systematic architecture in it. Currently, the successful application of systemic functional linguistic theory in the study of Persian literary texts has opened a new path for the structural study of Gulestān. In this study, employing the theory of systemic functional linguistics and the model of "non-structural coherence", the cohesive harmony and the coherence between two anecdotes from the second chapter of Gulestān have been investigated. This study aims to measure the degree of cohesion and coherence in these two anecdotes by analyzing the semantic relationships between the lexical items of their constituent elements. Having done that, it was revealed whether the author of Gulestān had a specific intention in arranging the anecdotes or not. Methodology Halliday's systemic functional linguistic theory has been recommended by linguists to measure the cohesiveness of Persian texts; “By utilizing this theory - that is a scientific method- we can probe the degree of cohesion and coherence in any ghazal of Hafez or other literary texts quantitatively” (Ishani, 2016: 130). Therefore, in this study, the coherence coordination between two separate but consecutive anecdotes - with the premise that two anecdotes together make a single text - has been studied. In the systemic functional linguistic, coherence is studied at three levels: 1. Structural coherence (intra-sentence) 2. Non-structural coherence (inter-sentence) 3. Macro coherence (at the level of discourse and genre). In this research, the non-structural cohesion model has been used. Discussion In this research, "Anecdote 25" (A Frenzied Mystic) and "Anecdote 26" (The Ignorant and Love-free Sheikh) were selected from the second chapter of Gulestān (On the Morals of Dervishes). First story: A Frenzied Mystic I remember once having marched all night long with a caravan, at down, I was sleeping at the outskirt of a thicket. A frenzied mystic who accompanied us on that journey let out a loud cry and took the path of the wilderness not standing still even for a moment. When the day broke, I asked him what state it was. He said: I saw nightingales on the trees, pheasants on the mountains, frogs in the water and beasts in the thicket all lamenting. I thought it would not be just that all should be awake praising God and I be sleep in ignorance. Last night, a bird kept lamenting till morning; It stole my wisdom, patience, fortitude and consciousness. Hearing my wailing, an intimate friend said: Never did I believe that a bird’s caroling would throw thee into unconsciousness. I said I deem it against the human calling That birds be praising God and I rest in quietness. (Rezvani, 2018:180) Second story: Ignorant and Love-free Sheikh Once, on a pilgrimage to Hejaz a group of gnostic youths happened to be my fellow-traveler companions. Most of the times they whispered a tune and recited a mystic verse and there was a pious man accompanying us who kept disparaging their state and was ignorant of their hidden affliction until we reached the palm plantation of the tribe of Helal. A lad with a dark complexion came out of the Arab horde and let out such a melodious tune that brought the birds down from the air. I saw that the camel of the pious man was moved into dancing; throwing him down, it went away. I said: O sheikh! That melody threw an animal into ecstasy, but left no impression on you. Knowest thou what that nightingale of the dawn told me? “What sort of human art thou ignorant and love-free? By an Arab song a camel is thrown into rapture; Thou art but a crooked brute if devoid of such nature.” Affected by the breeze blowing in the verdure, the twigs shake, But a piece of hard rock will not be moved by the quake. Whatsoever thou beholdest is praising him; He can hear an ear, receptive. It’s only a nightingale on the flower that extols him, But even every thorn in a tongue, of him appreciative. (Rezvani, 2018:182) The repetition of the words desert, journey, dawn, nightingale, bird, state, and rosary are repeated in both stories (see table number 1). The repetition of "Shurideh" (a frenzied mystic) in the second story is done through "Adjectives of Shurideh". The paragraph "he took a desert path" is repeated exactly in both stories in two similar contexts. In these two anecdotes, Saadi has used synonyms with a special knowledge (see table number 2). The Antonyms between two stories are not used for beauty and industrialization, but to polarize the text and create meanings based on symmetry and parallel layers of meaning. Almost all the elements of the "material situational context" of the two stories are cleverly designed opposite to each other. Some of the contrasts between the two stories are as follows: on foot / on horseback, night / day, frenzied mystic / love-free Sheikh, Natural sounds / human tones, singing / whispering, human / animal, (see table number 3). Examining Total Tokens of two anecdotes (as a continuous text) shows that hyponymy and meronymy are present in the text with great frequency (see table number 4). The search for Similarity chains and Identity chains between two stories shows the author's goals in integrating the text. For example: I have shown the chain of sounds and music, the chain of times, the chain of places, the chain of animals and birds, the chain of plants, the chain of the thinking process, the chain of morals of dervishes, the chain of morals of jurists and the chain of mystical states. (To see these chains, refer to table number 5). Conclusion The application of the non-structural cohesion model provided clear evidence of strong intra-sentence and inter-sentence relationships between the two anecdotes discussed in this study. The absence of side elements among the total tokens indicates a high level of coherence in these stories. Furthermore, the content, emotional, and structural unity between the two narratives was distinctly revealed both qualitatively and quantitatively. By employing such a theoretical framework, the accuracy of the audience's comprehension is enhanced, enabling them to move beyond passive engagement with the text and dive into the realm of "Semiotics of Discourse". This approach sheds light on previously unknown aspects of Gulestān's rhetoric. For instance, the theory of Systemic Functional Linguistics elucidates why the scene setting of the first story (the trade caravan and constructing a home in the forest) correlates with the second story (the Hajj pilgrimage caravan and making a home in Nakhl-e Bani Helal Caravanserai, the pious man's behavior, etc.). Through this theory, we not only understand the structure of the text but also uncover hidden meanings embedded within the orientations of each story relative to the other. Additionally, the tools offered by this theory assist the audience in filling in the missing textures of each narrative. For example, the use of ellipsis specifies the responsibility of each clause in completing other clauses within the story. It is important to note that an examination and evaluation of Gulestān's inter-narrative relations using role-oriented linguistics theory can help resolve disagreements among researchers regarding conflicts and contradictions in the structure and epistemology of Gulestān's stories, ultimately facilitating the process of understanding and interpreting the text.

Nasreddin Hodja, the legendary figure of Turkish cultural history whose fame goes beyond borders, lives in the present through his anecdotes and fulfills the function of giving advice, guiding and hitting the nail on the head by his anecdotes that include almost every subject and human type. As a matter of fact, Nasreddin Hodja, as the man of people, satirizes the mistakes and deficiencies in the society in an entertaining lan-guage with his unique intelligence that makes people laugh and think. The funny, thought-provoking, educa-tional, entertaining and surprising features of the Hodja jokes are due to their multi-faceted humor. Nasred-din Hodja is not only a figure of anecdotes, but also a mystic. Many features of the myth, which are includ-ed in the narratives such as legends, narratives, epics, and folk tales are reflected through the anecdotes that are attributed to Nasreddin Hodja by the people of mysticism. Among the anecdotes, the group called legend anecdotes focuses on the motif of resurrection from bones. In ancient belief systems, the place where the soul resides is human blood while the seat of the soul is thought to be the bone. In addition to the symbolic role it played in the creation of the world, bone is also the main element of the creation of human beings. Since bone has been considered as the most permanent element of the human and animal bodies for some people since ancient times, it is assumed that the immortal soul also resides there. In this context, although the belief in resurrection from bones (intermezzo) has been seen in other tribes besides Altaic tribes like Turks and Mongols, it is my opinion that it is mostly from the Northern and Central Asian origin. Based on the bond between bone and lineage, Turkish noble people believe that lineage originates from bone, it forms the basis of living things, and the continuity of life and resurrection can only be achieved through bones. As a reflection of this belief, importance is given to the preservation of body integrity, espe-cially the skeleton and skull as much as possible. This is an indication of the belief that the dead will be resurrected and will continue to live while the bones of the enemy will burn in the fire, and the skeleton and skull would be buried carefully and preserved so that the graves of their ancestors and therefore their bones would not be harmed. The anecdote, which is expressed as a short and dense narrative in a prose language, is not a narrative of belief when compared to a myth and a legend, but the reality of anecdotes, which are tied to a historical type, is like a myth and a legend. These anecdotes are dealt with under a discrete heading called legendary anecdotes in the classification of anecdotes. In this context, there are two anecdotes of Nasreddin Hodjas named Hoja's Bedovasi and Nasreddin Hodja Teacher, which are variants of each other, based on the rumor in the book named Nasradin Hodja and Itar Peyo compiled from the Turks by Sevim Piliçkova from the North Macedonia, which is located in the Balkans where Turks live intensely. The phe-nomenon of resurrection and resurrection from bones observed in two Nasreddin Hodja anecdotes, which are variants of each other, will be evaluated in terms of their connection with the myth in the aforemen-tioned anecdotes with an emphasis on oral prose narratives, especially religion and belief systems, how they take place in epics, legends and fairy tales and their antiquity. [ABSTRACT FROM AUTHOR]

In recent years, many of the critics made on our education system focus on the students' inability to come up with original ideas, the fact that they only memorize the information they want to be taught as it is, inability to make inferences from the information they have obtained, and inability to express themselves comfortably in front of a community. At this point, it is important for students to learn and develop their metacognitive thinking skills. It has been concluded by the studies conducted on the critical thinking skill among these skills that individuals who can think critically have high self-confidence and have courage to express their thoughts, can come up with extraordinary and original ideas, can make connections between information, produce alternative views with this information, offer solutions and show intellectual development. It is seen that these results mostly are in line with the results of the studies on humour genre's critical thinking aspect. In these studies, it is noteworthy that the researchers agreed that the most important features of the anecdote are that it is funny and that it makes people think about the main event and conflict it tells. These cases point to important premise parts about the use of humour in teaching critical thinking skills. In this sense in this study, in order to raise the type of student expected from our education system, answers were sought to the questions of whether the anecdotes told depending on the Bektashi type have an effect on critical thinking skills and whether these anecdotes can be used in teaching students critical thinking skills; it has been concluded in the aforementioned anecdotes that Bektashi anecdotes will contribute to the acquisition of this skill by the students, since Bektashi's unique, free and original thought examples, inquiring perspective, problem-solving skills, self-confidence in expressing feelings and thoughts, and critical thinker characteristics. [ABSTRACT FROM AUTHOR]

The aim of the following article is to define the concepts of the comic and (dark) humour employing the work of Vladimír Borecký, a Czech scholar and author of the typology of the comic. The text focuses on various features and manifestations of dark humour in selected Czech anecdotes from WWII.

The story about the rough Pomeranian has been repeatedly revised and published – by editors who have been independent of each other – for almost half a millennium. It has been modi-fied by about 35 authors in about 40 versions. Its roots seem anecdotal; it has been adapted in epic, lyrical and dramatic texts. It referred to a long-established stereotype with negative con-notations about the region of Pomerania and its inhabitants. On the one hand, it showed the perception of the autochthonous population, but on the other hand, it also offered a way of dealing with this detrimentally tainted image. The article compares individual variants of the story and interprets them imagologically.

Following his early death, Hubert Fichte’s publication project Die Geschichte der Empfindlichkeit (The History of Sensitivity) remained a fragment. The reader of the posthumous edition is not only confronted with a variety of genres (novel, glosses, paralipomena), but also with a programmatic heterogeneity, as well as with multiple correspondences between the different parts of the project. Connecting the various volumes is the theme of Empfindlichkeit (sensibility, sensitivity), whose anthropologically oriented project traces a path across the three continents Europe, America, and Africa, both historically and in the present. This paper asks what kind of historiography the various writing formats give rise to. Points of reference are Fichte’s narratives about the Casa das Minas, a temple of African-American religions in Brazil, and the assignment given to him by the priestesses of the temple to travel as a messenger to Abomey in West Africa. By examining this messenger service from multiple perspectives, Fichte’s conceptions of reality and History should be addressed in relation to four essential aspects: the engagement for the transmission of a foreign message (the assignment), the scholarly documentation of the history of a religious institution (Fichte’s Das Haus der Mina in São Luiz de Maranhão), the fictional narration with references to a historical setting (Fichte’s Explosion), and the consideration of anecdotal transmission as a complementary ‘counter-history’ (Fichte’s “Afrika” in Psyche). [ABSTRACT FROM AUTHOR]

The avant-garde literary group OBĖRIU, with its poetics of the absurd, alogism and grotesque, had a great influence on later Soviet Russian literature and on neo-avant-garde movements as well. This paper investigates the connection between OBĖRIU and the neo-avant-garde of the 1970s and 1980s, especially by comparing two representatives of these different ‘ages’ of avant-garde – Daniil Kharms and Dmitrii Prigov. The analysis will focus particularly on the genre of the anecdote, with which they both experimented. After tracing the heritage of OBĖRIU poetics in Conceptualism and in the work of Prigov, who was interested in the form of Kharmsian prose miniatures, the paper will compare the well-known Anecdotes from the Life of Pushkin by Kharms (1937) with a series of quasi-hagiographical texts, Stories about Stalin, by Prigov (1975-1989). These bizarre sketches have several common features related to the genre, the formal structure, and the stylistic devices employed. Despite some striking parallels, however, the analysis will demonstrate that Kharms and Prigov have two different approaches to understanding deconstruction of myths, the grotesque, and the absurd.

Copyright of Revista Poligramas is the property of Universidad del Valle 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.)

1. Introduction One of the persisting issues about Sa'adi's Gulestān is the question of whether or not there is a structure and system in its text. Some consider the anecdotes of Gulestān as lacking order and semantic connection, while others believe in the existence of a measured, symmetrical and systematic architecture in it. Currently, the successful application of systemic functional linguistic theory in the study of Persian literary texts has opened a new path for the structural study of Gulestān. In this study, employing the theory of systemic functional linguistics and the model of "non-structural coherence", the cohesive harmony and the coherence between two anecdotes from the second chapter of Gulestān have been investigated. This study aims to measure the degree of cohesion and coherence in these two anecdotes by analyzing the semantic relationships between the lexical items of their constituent elements. Having done that, it was revealed whether the author of Gulestān had a specific intention in arranging the anecdotes or not. 2. Methodology Halliday's systemic functional linguistic theory has been recommended by linguists to measure the cohesiveness of Persian texts; "By utilizing this theory - that is a scientific method-we can probe the degree of cohesion and coherence in any ghazal of Hafez or other literary texts quantitatively" (Ishani, 2016: 130). Therefore, in this study, the coherence coordination between two separate but consecutive anecdotes - with the premise that two anecdotes together make a single text - has been studied. In the systemic functional linguistic, coherence is studied at three levels: 1. Structural coherence (intra-sentence) 2. Non-structural coherence (inter-sentence) 3. Macro coherence (at the level of discourse and genre). In this research, the non-structural cohesion model has been used. 3. Discussion In this research, "Anecdote 25" (A Frenzied Mystic) and "Anecdote 26" (The Ignorant and Love-free Sheikh) were selected from the second chapter of Gulestān (On the Morals of Dervishes). First story: A Frenzied Mystic I remember once having marched all night long with a caravan, at down, I was sleeping at the outskirt of a thicket. A frenzied mystic who accompanied us on that journey let out a loud cry and took the path of the wilderness not standing still even for a moment. When the day broke, I asked him what state it was. He said: I saw nightingales on the trees, pheasants on the mountains, frogs in the water and beasts in the thicket all lamenting. I thought it would not be just that all should be awake praising God and I be sleep in ignorance. Last night, a bird kept lamenting till morning; It stole my wisdom, patience, fortitude and consciousness. Hearing my wailing, an intimate friend said: Never did I believe that a bird's caroling would throw thee into unconsciousness. I said I deem it against the human calling That birds be praising God and I rest in quietness. (Rezvani, 2018:180) Second story: Ignorant and Love-free Sheikh Once, on a pilgrimage to Hejaz a group of gnostic youths happened to be my fellow-traveler companions. Most of the times they whispered a tune and recited a mystic verse and there was a pious man accompanying us who kept disparaging their state and was ignorant of their hidden affliction until we reached the palm plantation of the tribe of Helal. A lad with a dark complexion came out of the Arab horde and let out such a melodious tune that brought the birds down from the air. I saw that the camel of the pious man was moved into dancing; throwing him down, it went away. I said: O sheikh! That melody threw an animal into ecstasy, but left no impression on you. Knowest thou what that nightingale of the dawn told me? "What sort of human art thou ignorant and love-free? By an Arab song a camel is thrown into rapture; Thou art but a crooked brute if devoid of such nature." Affected by the breeze blowing in the verdure, the twigs shake, But a piece of hard rock will not be moved by the quake. Whatsoever thou beholdest is praising him; He can hear an ear, receptive. It's only a nightingale on the flower that extols him, But even every thorn in a tongue, of him appreciative. (Rezvani, 2018:182) The repetition of the words desert, journey, dawn, nightingale, bird, state, and rosary are repeated in both stories (see table number 1). The repetition of "Shurideh" (a frenzied mystic) in the second story is done through "Adjectives of Shurideh". The paragraph "he took a desert path" is repeated exactly in both stories in two similar contexts. In these two anecdotes, Saadi has used synonyms with a special knowledge (see table number 2). The Antonyms between two stories are not used for beauty and industrialization, but to polarize the text and create meanings based on symmetry and parallel layers of meaning. Almost all the elements of the "material situational context" of the two stories are cleverly designed opposite to each other. Some of the contrasts between the two stories are as follows: on foot / on horseback, night / day, frenzied mystic / love-free Sheikh, Natural sounds / human tones, singing / whispering, human / animal, (see table number 3). Examining Total Tokens of two anecdotes (as a continuous text) shows that hyponymy and meronymy are present in the text with great frequency (see table number 4). The search for Similarity chains and Identity chains between two stories shows the author's goals in integrating the text. For example: I have shown the chain of sounds and music, the chain of times, the chain of places, the chain of animals and birds, the chain of plants, the chain of the thinking process, the chain of morals of dervishes, the chain of morals of jurists and the chain of mystical states. (To see these chains, refer to table number 5). 4. Conclusion The application of the non-structural cohesion model provided clear evidence of strong intra-sentence and inter-sentence relationships between the two anecdotes discussed in this study. The absence of side elements among the total tokens indicates a high level of coherence in these stories. Furthermore, the content, emotional, and structural unity between the two narratives was distinctly revealed both qualitatively and quantitatively. By employing such a theoretical framework, the accuracy of the audience's comprehension is enhanced, enabling them to move beyond passive engagement with the text and dive into the realm of "Semiotics of Discourse". This approach sheds light on previously unknown aspects of Gulestān's rhetoric. For instance, the theory of Systemic Functional Linguistics elucidates why the scene setting of the first story (the trade caravan and constructing a home in the forest) correlates with the second story (the Hajj pilgrimage caravan and making a home in Nakhl-e Bani Helal Caravanserai, the pious man's behavior, etc.). Through this theory, we not only understand the structure of the text but also uncover hidden meanings embedded within the orientations of each story relative to the other. Additionally, the tools offered by this theory assist the audience in filling in the missing textures of each narrative. For example, the use of ellipsis specifies the responsibility of each clause in completing other clauses within the story. It is important to note that an examination and evaluation of Gulestān's inter-narrative relations using role-oriented linguistics theory can help resolve disagreements among researchers regarding conflicts and contradictions in the structure and epistemology of Gulestān's stories, ultimately facilitating the process of understanding and interpreting the text. [ABSTRACT FROM AUTHOR]

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The aim of the following article is to define the concepts of the comic and (dark) humour employing the work of Vladimír Borecký, a Czech scholar and author of the typology of the comic. The text focuses on various features and manifestations of dark humour in selected Czech anecdotes from WWII. [ABSTRACT FROM AUTHOR]

What serves as a starting point for the article are theses regarding the analogy in legal acts and regulations -- the rule analogy and the precedent analogy. What in turn serves as its point of reference are theses concerning cultural schematization, which include narrative patterns of myth, general (universal) history, and individual history. The legal rule and precedent analogies may be considered as argumentative and narrative strategies. The precedent analogy plays an important role in contemporary, modernist, individualized biographical and autobiographical micronarratives. In fact, the anecdote and the episode may be examined as examples of the precedent analogy. In the contemporary humanities, as well as in the social sciences, the presence of "travelling concepts" has been observed (Mieke Bal). The "episode" and the "anecdote" can be seen as examples of this inter- and trans-disciplinary concept. With this in mind, the article poses questions regarding the argumentation that refers the anecdotal and the episodic in microhistories, especially in particular, individual histories, and, above all, in subjective (auto)biographies. The terms "episode" and "anecdote" pertain to two different modes of describing that which is instant, short-lived, and seemingly included in the allegedly coherent historical whole. The former refers to an extraordinary event that constitutes a breach and disrupts the much sought-after temporal and semantic coherence which helps give meaning to events. The anecdote, by contrast, confirms this coherence (which includes alleged historical purposefulness and necessity) along with a revealed sense. What serves as a crucial context for the reflections presented in the article is the theory put forward by Max van Manen in Phenomenology of Practice. Meaning-Giving Methods in Phenomenological Research and Writing. In his applied phenomenology, van Manen proposes an argumentative reference to the history of an individual subject -- to biography, which he recognizes not only as a documentary testimony to individual existence, but also as an "anecdote" -- an example of a general subjective attitude. [ABSTRACT FROM AUTHOR]

Copyright of Centre: Journal of Arabic Studies / Al-Markaz: Majallat al-Dirāsāt al-ʿArabiyya is the property of Brill Academic Publishers 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 Colloquia Germanica Stetinensia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego 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.)

Described as having a friendly chat, conversing and verbally mild humor, “yârenlik” colloquially denotes humorous talk and narration of memories with a witty punch line at the end. Amusing is a central quality in narration of yârenlik that serves as an origin of anecdotes. The form of yârenlik that not only amuses but also helps recount and exemplify a subject matter or a notion is called "teselleme". As it is the case in other folkloric forms of literature, the narration of yârenlik also serves to directly or indirectly entertain, relax, foster friendship and solidarity, criticize, and educate. Since they are set and narrated in small villages, narrators and audience are acquainted directly or only by name with the true protagonists of yârenlik as it is the case for the forms of teselleme. While the ridiculousness of the “yârenlik” depends on the elements that can be explained within the theories of superiority, incongruity and relaxation, on the other hand, the real and original personality of the narrative hero is an important element of laughter. The narration to the audience who are not acquainted with protagonists is a token of how the story or the state of things is more important than the subject, appealing to a larger group of people. Such forms of yârenlik and teselleme are more convenient to be morphed into an anecdote. In addition, amusing, which is typically the purpose of yârenlik, serves rather as a means for teselleme and anecdotes. What is narrated turns into a proverb when its message or the lesson learned from it does not sink into oblivion even though true protagonists, the story itself or the state of things are no longer relevant and thus forgotten about. Therefore, one can argue that the recounts of yârenlik provide an origin for proverbs and idioms. When recounted to people who are not from where it originates, yârenlik brings about additional comments and statements by the narrator if it is released in a rural newspaper or posted online on social networks. In this case, the narrator feels the need to include informative statements about the subject, especially in the introduction. Incorporating such humorous talk and memories that are spontaneously formed in daily life, the recounts of yârenlik directly portray the lifestyles of the village or site where they are set, their living conditions, common perceptions and views, namely their culture and socioeconomic state as they are based on true characters, events, and situations. The wording, the forms of addressing, and patterns of expressions are likely to offer insight into the local dialect and serve as a basis for further studies. Some “yârenlik”s disappear depending on changing social conditions and time. From this point of view, it is of capital importance to compile and review such recounts that may serve as an origin for cultural and historical studies as well as folk literature. Dalakçı village of Mucur district of Kırşehir draws attention with the prevalence of the expression of “yârenlik”. 155 of the “yârenlik”s that the villagers sent to the "Dalakçı Newspaper" were made into a book and published under the name "Yârenlikleriyle Köyümüz Dalakçı-1". In our study, the “yârenlik”s in this book have been examined in terms of their humorous features and determinations have been made about the qualities that make them different from “teselleme” and anecdote. [ABSTRACT FROM AUTHOR]

The analysis of the semantics/semiotics in literary texts is amongst new science that provides the readers with more perception and understanding. This research focused on new approaches to the aspects of interaction to open a new horizon of meanings for readers. The researcher studied semantics/semiotics and meanings based on the anecdote of Indian child servant and Sultan Mahmud in the 6th book of Masnavi. The research aimed to investigate the semiotics not only in a single way, but also in relation to the collection of other semiotics causing construction of meaning in interaction; meanwhile, the possibility and accessibility of character of the interaction was considered. The key point is that semiotics in an interactive process leads to meaning creation, artistic generation, and eloquence. Molana’s discourses entail dynamic characters. This research strongly aimed to investigate what happens in the circumstance of discourse, the process of evolution, and chaos in discourse, how the discourse change does result in dynamic meanings, and which discourse-base system outperforms the mythological base of it. Also, it was tried to find out which discourse approach further represented the mystical base of Masnavi-Maanavi. The research resulted in the impossibility of studying meaning regardless of its application in discourse, which shapes the flow of meaning creation. [ABSTRACT FROM AUTHOR]

A story is an allegory made to give meaning to a collective experience with the aim of extending its generalization as a comprehensive understanding of that experience. The question of the current research is, what cognitive consequences does the application of the story with its comprehensive generalization ability and practical capabilities have? Examining the causes of generalizability in language and narrative elements in Kalileh and Damneh, Marzbannameh, Golestan and Baharestan show; the language is made up of: commonly used, simple and general meaning words, small noun groups and short sentences. The narrative structure of the story is small and simple and complete, character types are processed by using common nouns and adjectives. Events and few incidents that are included in the verbs of very short sentences. The scene is often processed with general and vague adverbs of time and place. The omniscient narrator includes the general theme of the story at the peak of the narration; therefore, due to its language and structure, the story has become so generalizable that its examples can be generalized to all people in all times and all places. In addition, the generalizable narrative and linguistic features have given practical capabilities to the story. Including; meaningful ability, oral transmission ability, conceptualization ability, ability to apply metaphorical elements of narrative, ability to accept broad implicit meanings, ability to give meaning to experience, ability to imagine creatively, ability to persuade, role play The adaptability and capabilities that have provided the grounds for its widespread use, and its widespread use has some cognitive consequences. Including; Holism, homogenous identity, persistence of beliefs, reductionism in cognition, one-dimensional view of phenomena, absolutism and mental prejudices. [ABSTRACT FROM AUTHOR]

The article considers the semantic function of precedent phenomena in the interpretation of a political communicative event in the texts of modern network anecdotes. The material of the study was anecdotes, which actualize the verbal formula “Whoever calls names is called that himself” used by V.V. Putin in response to a statement by Joe Biden during an interview on ABC on March 17, 2021. In the process of analyzing the material, contextual and discursive analysis techniques were used, as well as elements of Intent-analysis and general scientific methods of generalization and comparison. Since ordinary humorous communication reflects the real ideas of Russian citizens about political events in the country, an analysis of the texts of jokes will reveal stable ideas about the government and the international political situation that have developed in the public consciousness. The study reveals that in the texts of anecdotes that appeared as a reaction to the political dialogue of J. Biden and V. Putin, the most frequent are precedent phenomena dating back to children’s folklore. The analyzed cycle of anecdotes is dominated by the topic of children’s yard quarrel, with which relations between the presidents of Russia and America are associatively correlated. Fiction, history and jurisprudence became other areas-sources of precedent phenomena in anecdotes about J. Biden and V. Putin. Due to the use of precedent phenomena dating back to various sources and causing numerous associations, there is a semantic variability in the interpretation of the same political event in ordinary humorous communication.

The article aims to study D. Prigovs series of prose texts Sovy (Soviet texts) artistic subtleties as a conceptualist work. The author of the article analyzes genre and style modifications owing to use of parodic stylization. The research exemplifies how a fairy tale, epic, legend, anecdote, hagiography are modified by the Soviet myth content, whereas creating a quasi-history. Historical characters, politicians, poets and writers, mythologized by ideology and commonplace consciousness in the Sovy, are presented as cultural and progenitor heroes. Life journey of characters, cultivated by the Soviet myth, is often depicted according to the hagiographic canon. The mask of a storyteller/propagandist is the starting point of folklore stylizations and parody imitations of the Soviet art in the Sovy series. Parodic tale was crafted by mimicking folklore and journalistic styles, their hybridization at the lexical-grammatical and rhythmic-syntactic levels. Styles, genres and masks mocking in D. Prigovs Sovy series is examined at the methodological perspective of text narratological analysis for the first time, thus emphasizing the studys novelty and relevance. The author of the article concludes that D. Prigov deconstructs Soviet mythologems, showcasing transformations of a myth to an anecdote, a famous name into an empty sign, a story into a simulacrum.

Sanai, the founder of Persian mystical poetry, is one of the poets who strived to introduce the language of mysticism practically and at times theoretically. So far, several theories have been proposed regarding mystical language. These theories, where they are based on the more general theories of language of the target religion, fall into two categories of formative theories and role-oriented theories. One of the role-oriented theories about the language of metaphysical experiences is John Herman Randall's theory. This philosopher considers religion, just like science and art, as a kind of human activity that contributes to human culture, and lists four roles for religious mysteries and myths. The present article, adopting a descriptive and analytical research method, renders a new analysis of anecdote functions in Sanai's Hadiqat al-Haqiqah and examines their correspondence to Randall's theory. The findings reveal that Sanai deploys anecdote for two purposes; first, to clarify ontological, theological, cosmological, and anthropological issues and to correct social problems, and second, among Randall's four roles, Sanai’s Hadiqat al-Haqiqah anecdotes, in the first place, play the role of stimulating practical senses and strengthening practical commitments (Anthropological), and stimulating senses of cooperation and social cohesion (Social), in the second place. The next two roles, namely the transmission of unspeakable human experiences (Theological) and the explanation of the glorious divine system (Cosmological) have been considered less by this mystic poet. These roles place Sanai’s mysticism under the banner of Khorasan School, which is better known as humanism and socialism.

The article deals with an issue of the widespread distribution of anecdotes about the COVID-19 pandemic in Russia and demonstrates the relevance and necessity of theoretical understanding of this phenomenon. The importance of the research problem is due to the need of recreating the models of situation perception which are reflected in the texts as well as tracing public reaction to the current events and ideological attitudes. The research aim is to identify the peculiarities of the problematics and poetics of the anecdotes about coronavirus infection. The analysis of the regularities in functioning of humorous miniatures shows that a number of genre-forming features of an anecdote are partially restored due to digital technologies. The study reveals that witticisms adapt to the changed communication conditions. Under the conditions of a declared emergency, the electronic method of information transmission sometimes becomes the only possible option. The problematic of anecdotes relevant during the period of 2020 and 2021 indicates that collective consciousness is sensitive to manifestations of the epidemic process. The article lists and characterizes the main thematic groups of anecdotes, their leading motifs and images. Obsessions with eroticism as well as the focus on violation of official taboos are noted. The study found that the actualization of the idea of national identity is an effective way of getting positive emotions. The findings include the figures of speech and expressive means that form the automatism of perception and its unexpected destruction in the final formulas. The article concludes by identifying the literary device of anthropomorphization of the coronavirus image as well as the key functions of the "COVID-19" anecdotes, including communicative, compensatory, psychotherapeutic and harmonizing functions.

The article is devoted to the study of the role of anecdotes, caricatures and Internet memes in the construction of historical memory. The memory of the past implies emotional content, the expression of which is often humor. The author views an anecdote as a component of oral history and a communication phenomenon of the pre-digital era, in which the representation of ideas about the past was humorous. A historical anecdote, being originally a kind of didactic historiography, has been transformed into a tool for transmitting an informal interpretation of history, and once in the digital media environment, it has lost its former meaning. Mass media, with the help of a caricature representing history in a humorous way, have visualized the images of the past, setting certain evaluative frameworks of historical and political events. Being an element of traditional media as well as a work of art, caricature encouraged the formation of historical memory along with other artistic genres. In the digital age, it, like a historical anecdote, has given way to Internet memes in the media sphere. The author considers Internet memes to be the phenomena of digital culture, defining them as a kind of a polymodal, metaphorical, often ironic, humorous utterance that is spread in the media environment. A historical Internet meme, combining the images of popular culture and collective memory in a visual text format, has a decisive influence on the perception of historical events and personalities by social media audiences. With the help of Internet memes a great number of Internet users create their own versions of the interpretation of history in a humorous form, thus reproducing the collectively shared mythologized ideas about the past.

The anecdote is a borderline case of literature and literarily constructed living speech (parole). Its specific poetics, viewed from the “aspect” of literature, is arresting for its endurance (owed among others to the participation of unconscious factors). Meanwhile, from the “aspect” of fictional techniques, the anecdote shows itself as an element of rhetorical strategies. The anecdotal phrase would thus mean stepping beyond the strict rules of discursive communication towards imposition of suggestions. Namely, the anecdote is usually a veiled critical statement that acts subliminally. By combining components of information with sceptical intent it undermines this content. Its thrust is often directed against the lofty pretensions and pathos under which authority presents itself to the world. The anecdote brings the scintillation and duality of human motivation to the image of the world as a part of its unique strategy of subversion. Keywords

This article analyzes three pericopes from the Acts of the Apostles (19:13-16; 20:7-12; 28:1-6) and highlights the existence therein of the literary genre anecdote. The article reviews the main diachronic and synchronic studies on the book of Acts. The method of form criticism is used, since those passages indicate the existence of a literary genre which is apparently overlooked by traditional biblical exegesis. This characteristic method of historical-critical exegesis is combined with Bakhtin’s theory of the novel, in order to propose a renewal of the theoretical approach. The three pericopes from the Acts of the Apostles are analyzed from the Greek text. The article points out the existence of anecdotes in the book of Acts and that the function of this literary genre is to provide pauses along the Lucan narrative. Another outcome of the study is to point out the relevance of comicality in the New Testament. [ABSTRACT FROM AUTHOR]

In this paper we examine reports of poetic confluence, in which one person's utterances seems to connect with another's unspoken or unarticulated thoughts. We argue that analysis of these narratives can be investigated as a window onto social reality, and as a site in which social realities are produced, especially with respect to identity work. We show how this approach complements and develops from the small story paradigm in narrative inquiry. In our discussion we try to identify common principles that may underpin work on both the content of poetic confluence narratives, and the work done in the features of those narratives. [ABSTRACT FROM AUTHOR]

The article emphasizes the folklore-inspired work of the poet Petre Dulfu. At first, I reproduced a brief description of his native village, in the patriarchal form, as during the poet's lifetime. I alluded to the influence that country life had on his work. The investigation part of the study consists of folk genres and species that inspired his work: the short story, snoavă (the anecdote), and the legend. We dwelled more on "Păcală's Exploits", his masterful work, full of stunts, adventures, mishaps, and jokes from which healthy humour breathes. I also referred to the volume of folk inspiration "Doine și lăcrămioare", which "revived his creative imagination". [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik 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 Horyzonty Wychowania is the property of Jesuit University Ignatianum in Krakow 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.)

Researchers believe Resāla-ye Delgošā by Ubaid Zakani as the first literary book specifically dedicated to anecdotes. The second most famous book is Lataʼif al-tavaʼif by ʻAlī ibn Ḥusayn Kāshifī Ṣafī who is known as the inventor of classification based on social castes. As literary theorists often emphasize, no literary work is formed suddenly and works of every kind progress gradually under influence of the previous ones. The key question is whether the works by Ubaid Zakani and Ali Safi were sudden and with no support. This paper presents a record of anecdotes books and tries to show missing circles in the process of compilation of such books from the 8th to 10th century AD. We conclude that there were some minor books on anecdotes before Ubaid, which are not available today. We may safely claim that writing essays on anecdotes was a tradition common before Ubaid period and this will not undermine the value of his work. The same tradition continued after Ubaid and authors invented their own style. We can point to Majma al-Latayef and Majma-al-Navader as examples of two books on anecdotes compiled before Lataʼif al-tavaʼif by ʻAlī ibn Ḥusayn Kāshifī Ṣafī.

The study of the speech-genre and formal-semantic properties of Russian anecdotes on bribery is based the corpus of anecdotes, which also include jokes of Russian-speaking Ukrainians, differing from Russian ones only in the names of the “protagonists” appearing in them. It is established that the main means of creating a pun in a joke are the lexical and grammatical polysemy and homonymy, playing off the phonetic similarities and spontaneous humor. The comic effect in jokes on bribery can also be created by playing off idioms – their literalization or replacement of components. According to the corpus of anecdotes, the authorities act as an almost “exclusive” subject of bribery – officials of all ranks, police authorities and lawmakers. In the corpus of jokes on corruption, the axiological and praxeological aspects of bribery are traced clearly: the general attitude of society towards a bribe and its assessment. The research claims the ubiquity of bribery in power structures, and with regard to the miraculous disappearance of corruption, one can feel extreme pessimism as it is ineradicable and inescapable. Humor as the ability to notice the ridiculous side of someone or something and present it in a maliciously mocking form in the corpus of jokes on bribery is practically absent due to the domination of sarcasm and irony. In jokes, all the denunciatory pathos is directed at bribe-takers, towards whom there is hatred, impotent rage and hyperbolic cruelty. The “fight against corruption” is purely imitative, but it has several nonfictitious functions: a tool for reprisal against competitors and those who do not fit into corruption schemes. Among socio-cultural functions of the jokes on corruption, in addition to the entertainment function, the article identifies the cathartic-therapeutic function, aimed at relieving a psychological stress caused by the prevalence of bribery, and the aggression function, specified in the outrage by corruption.