Search

The victory of the Spanish national women’s football team at the 2023 FIFA World Cup was marred by the mass-mediated non-consensual kiss on midfielder, Jennifer Hermoso, by Luis Rubiales, then President of the Royal Spanish Football National Federation. The kiss sparked general outrage worldwide and led to the prosecution of Rubiales for sexual assault and coercion. Drawing on the concepts of “moral shock” and “social drama,” this article explores how this widely disseminated episode of “subjective violence” resulted in a shock capable of mobilising and politicising different agents. It does so through qualitative analysis of official statements and vernacular online discussions. The article makes the case that the unfolding of this social drama enabled more subtle (objective) violence, long endured by female athletes, to be brought into public discourse debate. In so doing, it boosted demands for social change. But such demands were also contested, in that the structured social drama resulted in an online “reactionary moral shock” characterised by anti-feminist and misogynistic discourses. Significantly, our analysis of these discourses reveals a shift in male victimisation narratives and strategies to disempower women and maintain sexual inequality. These include the denial of gender-based violence and the banalisation of sexual abuse. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Escena: Revista de las Artes is the property of ESCENA. Revista de las Artes 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 were two Indian nationalist assassinations in London in the twentieth century: Sir William Curzon Wyllie by Madan Lal Dhingra in 1909 and Sir Michael O'Dwyer by Udham Singh in 1940. We read these assassinations as social dramas during which shifting meanings of British imperialism were articulated, contested and reinforced. We compare the cases to examine how Dhingra and Singh's insistence on the iniquity of colonial violence contested dominant narratives of the British Empire as benign. Capital trials offered Dhingra and Singh the chance to state their views on a public stage. The final act of these social dramas was the death penalty, a measure intended to restore order, but which also posed the risk of turning them into martyrs. [ABSTRACT FROM AUTHOR]

Copyright of Language Education is the property of Language Education Editorial Office 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 Anuario Turismo y Sociedad is the property of Universidad Externado de Colombia, Facultad de Empresas Turísticas y Hoteleras 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 Culturas Midiáticas is the property of Programa de Pos-Graduacao em Comunicacao 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 paper considers the Market Basket upheaval of 2013–2014 from the perspective of patriarchy, breach, workplace dignity, and social drama. It draws on Lingo and Elmes original data and analytic approach to their study of food workers in a family-owned, New England, supermarket chain who, after an unexpected change to the board, rose up to restore their patriarch and paternalistic institutional practices. It reimagines the Market Basket case through the lens of Victor Turner's social drama with a focus on key phases of the upheaval which included breach, crisis, redress, and reintegration. The paper considers the power of paternalism to unify and activate loyal, working class followers who benefit greatly from paternalistic practices and feel threatened by their removal. It also considers the risks of paternalism particularly under conditions where a charismatic patriarch has less benign intentions and workers follow with unquestioned loyalty. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic has produced a social drama in which churches, government, and individual actors have played prominent roles. While neo-conservative evangelicals have resisted governmental and scientific overreach in the name of "faith over fear", liberal religious groups have joined in government and medical efforts for the good of the commons, offered comfort and assurance to those suffering, and called for support of the poor at home and abroad. Religions have turned right and left, from apocalyptic "resets" of global order to new calls for social justice. In this context, the root metaphor of the epidemic has been called up as a historical construct that helps to conceptualize, analyze, and act upon the COVID-19 crisis. Searching the past helps us see that not everything about COVID-19 as a social drama is a new or unheard-of challenge. For example, there are new evocations of the black death of 14th-century Europe that became a crisis in the church, as well as the great Lisbon earthquake in 1755, which upended the confidence of the European Enlightenment. Another way to appraise the dimensions of the COVID-19 outbreak is to call on the varied approaches characteristic of the sociology of religion, that is, to consider how ideology and belief are socially constructed in order to account for new intellectual responses to societal challenges. Does religion always produce the "collective effervescence" Durkheim posited? Does religious change always arrive downstream of cultural change, or can it also become an independent variable? This article attends primarily to the sharp responses of conservative religious expression in the face of attention-getting upheaval, which has readily translated into right-wing political action and electioneering. But the social uplift and altruism of liberal religion is not neglected either. Thus, this article provides an account of how science and governmental action have both been challenged and embraced in response to COVID-19. As such, it is not an empirical study stemming from new Pew-like social polling. Rather, it is a wide overview rooted in sociological methods and theory for tracking religion historically and presently in America in a manner that aims to inform a discussion of how COVID-19 has impacted religion and religious expression, and vice versa. [ABSTRACT FROM AUTHOR]

The article provides a study of the features of the style and character system in Samson Samsonov’s film Dormitory for Singles (1983). An important aspect of the study is the problem of “collective existence”, which is analyzed by the author in a complex way — as a motive, as an element of creating a narrative of the 1980s Soviet comedy, etc. The author associates the filmmakers’ use of another essential concept — irony, starting from the 1970s, with the increasing role of moral issues, while collective existence allows film directors to use the comedy genre as an effective tool for criticizing contemporary culture and society. In the film Dormitory for Singles, irony is present at all levels: verbal, dramatic and authorial. It can also be noted that Samsonov uses irony in order to give a new meaning to the genre of production drama, which can be attributed to the author’s message. The director scrupulously builds a conditional space — the image of an ideal world, an ideal dormitory, in which many visitors from different parts of the then huge country would be eager to live. The author identifies the techniques by which a team of workers of a weaving factory appears on the screen as a close-knit family and defines strategies for constructing a space of collective existence associated with home comfort, and trust-based human relationships. The conclusions drawn by the author make it possible to systematize the idea of effective strategies for the representation of the working team in the Soviet melodrama genre.

To this day, Apollo Nałęcz-Korzeniowski's Comedy seems to be an insufficiently, or even incorrectly, problematized work. Problems begin already at the stage of discussion about the genre of the text: is it a social drama or a modern, commercial-industrial tragedy stylized in a slightly Schillerian way - in the spirit of Intrigue and Love? Despite the complete accuracy of Roman Taborski's judgment on the formal similarities between Comedy and Fantazy by Juliusz Słowacki, no attention has been paid to Aleksander Fredro's mature playwriting written at the same time (e.g. Wychowanka), which - as many presumptions may indicate - is an intriguing and inspiring comparative pair for Korzeniowski's play, which still requires accurate literary commentary. [ABSTRACT FROM AUTHOR]

This article suggests that in times of digital mass media, mediatized political issues create a self-perpetuating phenomenon that is here titled a neo-myth. Through combining interdisciplinary theories of Issue-Attention Cycles and Social Dramas, the article argues that the standardized ways that political issues are framed, mass-mediated and consumed in a contemporary society, paradoxically create a cyclical and self-perpetuating pattern. Instead of being linear, rational and cause-to-solution oriented, they become stereotypical, cyclical and performative, thus resembling mythological patterns both content and form-wise. The article discusses how and why these neo-myths form, as well as how political, public and media actors interact within the process. It discusses them in terms of their emergence, structure, causality, processual logics and formal variety, and suggests that the phenomenon falls in line with the findings of recent research on the shifting knowledge patterns in times of digital culture.

AbstractDuring the period 2018 to 2020, we followed 60 victims of crime and interviewed them at various stages of the judicial process from their first meeting with police until the conclusion of their cases. In this article, we analyze our interviews using Arnold Van Gennep’s and Victor W. Turner’s theoretical frameworks on rites de passage and social drama. Our analysis demonstrates how these theories are helpful in unravelling and deepening our understanding of victims’ experiences with the justice system.

Pig hunting in Minangkabau is a rite of passage which is carried out in a gradual ritual process. The rite of pig hunting is a sign that involves various social aspects of the community, including economy, religion, and culture. There are two questions to be answered in this research. Firstly, what is the meaning of the rite in the society and, secondly, how does the community's traditional pig hunting construct a social drama. To answer those questions, the author uses Victor Turner's ritual theory and Max Weber's theory of social drama. The results of this study indicate two main things. First, the pig hunting, which was originally an attempt to eliminate pests, later developed into a social drama. The rite of hunting as a social drama has four functions, namely (1) eliminating conflict; (2) limiting divisions and building community solidarity; (3) unites two opposing principles; and (4) provides new strength and motivation to live in everyday society. Second, as a social drama, the tradition forms a social construction. In this social process, there are four phases of social drama, (1) violation of social norms which invites the community to unite in eradicating pests; (2) wild pests pose a real threat, which can make the life of the farming community miserable (crisis) so that the community unites and holds various ceremonies to prepare for the implementation of hunting; (3) crisis recovery measures by carrying out a pig hunting ceremony; and (4) returns society with its entire social order to a normal situation.

While industrial closures in past decades were legitimized through an emphasis on economic motives, current closures are often framed within an emphasis on 'green transition', that is, through prefigurative discourses about post-carbon futures. This article discusses how the prefigurative transition framework reshapes the industrialization narrative, seeking to bridge the anthropology of energy and theories of performance. By paying attention to how 'proclaimed transition' is envisioned, narrated, and performed, the article explores the ways in which transition in Svalbard is spectacularly dramatized by the dismantling of the Svea coal mines, accompanied by the 'returning to nature' of the area. The article analyzes this 'returning' as a social drama of our anthropogenic times, demonstrating how landscape and nature are made key entities in performances of post-carbon utopia(s). [ABSTRACT FROM AUTHOR]

Copyright of Journal of Change Management is the property of Taylor & Francis Ltd 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 article suggests that in times of digital mass media, mediatized political issues create a self-perpetuating phenomenon that is here titled a neo-myth. Through combining interdisciplinary theories of Issue-Attention Cycles and Social Dramas, the article argues that the standardized ways that political issues are framed, mass-mediated and consumed in a contemporary society, paradoxically create a cyclical and self-perpetuating pattern. Instead of being linear, rational and cause-to-solution oriented, they become stereotypical, cyclical and performative, thus resembling mythological patterns both content and form-wise. The article discusses how and why these neo-myths form, as well as how political, public and media actors interact within the process. It discusses them in terms of their emergence, structure, causality, processual logics and formal variety, and suggests that the phenomenon falls in line with the findings of recent research on the shifting knowledge patterns in times of digital culture. [ABSTRACT FROM AUTHOR]

The article discusses the following research areas in the context of educating university students for civic engagement based on the material of Russian feature films: – analysing patriotic feature films, historical dramas and war films about the exploits of Russian people, films about love and self-sacrifice for the Motherland; – analysing Russian feature films about real heroes and their exploits, as well as films about heroic deeds committed by ordinary people in peacetime, films about public and official duties; – analysing film images of famous Russian historical personalities in Russian and foreign feature films; – analysing feature films about love for the “small” homeland, about professional and civic responsibility; – analysing film images of national heroes or famous citizens of various professions who contributed to the development of Russia, its culture, science, art, sports, etc.; – a comparative analysis of Russian and foreign film adaptations of classic Russian literary works, a critical analysis of national stereotypes in Russian and foreign feature films; – a critical analysis of antisocial images in feature films in order to form correct models of social and civic consciousness and behaviour among university students; – film education of youth based on social film dramas. [ABSTRACT FROM AUTHOR]

In this article I outline and analyse the creation of an inclusive church in Mexico City, in 2016: Casa de Gracia Inclusive; this study forms part of my research on this Christian institution. I used a qualitative methodology regarding the fieldwork, which I carried out from 2015 to 2018. I conducted both participant observation and ethnographic interviews with my interlocutors, all of whom were members of this church. During this period, I was able to witness the "friendly separation" of the Comunidad Cristiana de Esperanza (Christian Community of Hope) from its headquarters: Casa Mixta. The said process was carried out by way of rituals and performances with a high symbolic content, and within the framework of a "social drama" that allowed the emergence of an independent church; it was a series of events that led to the creation of an independent church. In turn, this enabled a greater sense of belonging for the actors involved and reinforced a collective identity that combines Christian elements and characteristic symbols of sexual diversity. To carry out my analysis, I used the theoretical proposals of Victor Turner. [ABSTRACT FROM AUTHOR]

Copyright of Revista Austral de Ciencias Sociales is the property of Facultad de Filosofia y Humanidades, Intituto de Ciencias Sociales, Universidad Austral de Chile 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 article examines the role journalists play in covering the death of controversial public figures and focuses on the tension between professional-journalistic practice and cultural norms. The death of controversial public figures provides the news media with an opportunity to readdress an unresolved social drama as part of a mediatized ritual of public grief. The rupture created in society as a result of the death of a prominent public figure is intensified by the rekindled public debate over society's core values and norms. Based on an analysis of the coverage of the death of 12 Israeli public figures who died between 1972 and 2014, I suggest that journalists utilize various discursive means in channeling social dramas toward a closure. I further discuss the implications of this study for understanding the role played by journalists as both agents of collective memory and restorers of social harmony. [ABSTRACT FROM AUTHOR]

On the theoretical level, this article aims to connect the theory of ritual and performance to the social phenomenon of media scandal. While focusing on the Japanese mediascape, this article aims to illuminate the ritualized means of scandal resolution, and the cultural realities of public shaming. This is important because most scandal denouements in Japan do not get by without a secular ritual of emotional confession, temporary exclusion, and eventual reintegration. While drawing from the methods of neofunctionalism, it is illustrated how the sociocultural act of confession, apology and exclusion is turned into an orchestrated pseudo-event with a high degree of ritualization. [ABSTRACT FROM AUTHOR]

By the late 1990s, when I was conducting ethnographic fieldwork research in Lisbon, the 'dentists' case' had become a familiar trope for the presence of Brazilian immigrants in Portugal. Although it involved a small group of Brazilian and Portuguese professionals, it gained visibility in the media of both countries, escalating into a political and diplomatic quarrel, and culminating in the amendment of the 1966 Cultural Accord. I use Victor Turner's concept of social drama to address the case as a chapter in the cyclical pattern of connection and disconnection of postcolonial Luso-Brazilian relationships. Drawing from a recent discussion on the concept of cosmopolitanism in migration studies, I employ the idea of postcolonial sociabilities to help explore the seemingly inherent ambiguities in the relationship between Brazilians and Portuguese. [ABSTRACT FROM AUTHOR]

Umulumgbe is a community in the South Eastern sub-tribe of the Igbo of Nigeria. They are known for their strong belief in the Supreme Being who is known as Chukwu Okike – the Creator and in the ancestors. Although they believe in other smaller gods, their reverence to the ancestors is apparent in the way they perform their Odo masquerade and struggle to sustain it. These ancestors who are known dead relatives in the community visit the living every two years and stay with them for a period of six months in the form of Odo masquerade. Umulumgbe Odo masquerade ritual performance is an art form that reflects the creative and imaginative work of the people of Umulumgbe. The performance provides an avenue for the participants to dramatize how their belief in the afterlife has contributed to their social and psychological wellbeing, especially, during the loss of a loved one. This study also concentrates on how the participants utilize this performance as an opportunity to promote peace, unify the people, and solidify communal bonds. Umulumgbe Odo masquerade performance is a social drama in nature, occupying the space between the real and the imagined, focusing on the continuation of life after physical death in the spiritual world. [ABSTRACT FROM AUTHOR]

A key challenge for climate communication is to materialize the climate crisis experientially and create an embedded climate politics which targets the causes of climate change at source. Since 2009, the climate movement has sought to keep coal, the principle contributor to global heating, in the ground, confronting the entrenched power of the coal-industrial complex at the places where it is extracted. This article analyzes data from extended ethnographic research at two such sites, on the Liverpool Plains in Australia and the Lausitz (Lusatia) in Eastern Germany. In both locations, farmers, villagers, citizens' initiatives, Indigenous groups, and climate activists engaged in a process of "strategic communing" in a shared struggle to protect their homes, fields, and forests from coal mining. I focus on the shared narratives which emerged from this process and analyze them applying Smith and Howe's concept of climate change as "social drama." This analysis reveals how small-scale struggles against coal mining, and the scripts or storylines employed by different actors, can make the sites of struggle morally meaningful in the drama of climate change. Such struggles, I argue, are themselves an important theater in which the global risk of climate change is staged. They foster solidarity between different actors and allow the emergence of exemplary narratives, "shared storylines" of resistance to the fossil-fuel economy and agitation for climate action. [ABSTRACT FROM AUTHOR]

This article focuses on two literary reportages by Dutch writer Frank Westerman: El Negro en ik (2004; El Negro and me) and Een woord een woord (2017; A word a word), addressing postcolonial conflicts within provincial areas of Europe, seemingly alien to tensions about racism or the colonial past. In El Negro and me, the stuffed body of a 19th-century black man exhibited in a museum in a Catalan town becomes the centre of a controversy over his removal from display. In A word a word, a series of Dutch towns reveals a postcolonial presence in the form of South Moluccan terrorism. Using Victor Turner's concept of social drama – a public crisis that unveils the conflicts at work within a community – the article discusses Westerman's reframing of these provincial spaces within (post)colonial history. Both works, while discussing conflicts that are distant, geographically or temporally, from present-day Netherlands, intervene in contemporary Dutch debates on multiculturalism and inclusion. [ABSTRACT FROM AUTHOR]

The cultural and ritual performance of Theyyam in Northern Kerala, considered as a reflection of the war cry against the caste system and oppression, conducts subversion of the social hierarchy. The chosen deity by the performer for a transitory symbolisation expresses the collective outrage of the oppressed and exploited people. This research paper enquires about the anti-structural characteristics exhibited by the performance of Theyyam. In the context of Richard Schechner's performance theory, it attempts to trace the characterisation of Mikhail Bakhtin's carnivalesque, Victor Turner's liminality and social drama in the transitional performance of Theyyam that mostly relies on interim separation and reintegration. The expression of antipathy to the hierarchy in Bakhtinian carnival, the anti-structural emphasis in Turnarian liminality, and the deconstructive-reconstructive stages in social drama elucidate the symbolic delineation of the performance of Theyyam. The analytical findings of the paper derived from the discussion of the three concepts reveal that the performance of Theyyam is rooted in its anti-structural characteristics. The performer is subject to continuous alteration in the identity that intermediates the idiosyncrasy between the deity and the human being. It symbolises the temporal transition from the oppressed to the equivalent status of the dominator that occurs as part of counter-culture, through status reversal and inversion. [ABSTRACT FROM AUTHOR]

Through studying a revenge murder triggered by a land dispute in China and the subsequent trial, this article explores "narrative transformation" in a social drama and proposes an event-based model for authoritarian deliberation. It argues that an obscure murder rose to prominence because it came to be narrated as a different kind of story. Initially viewed as "a normal killing," it was transformed to represent a "contest" between a law-and-order frame, which emphasizes individual guilt, and a righteous-revenge frame, which symbolizes wider conflicts. The article also contends that in the absence of an institutionalized issue forum, contentious events present a model for authoritarian deliberation. That is to say, deliberation is often pegged to social dramas on the "judicial periphery," thanks to a liminal phase inviting reflexivity, and exposes elite dissent that is otherwise veiled by an interest-driven alliance. In this case study, the media engaged with other institutions in contentious performances that affirmed hidden social fault-lines but also encouraged deliberation. [ABSTRACT FROM AUTHOR]

Research on social media, networks and collective action currently lacks a strong cultural component, often focusing on network formation and characteristics from afar. At the same time, research in cultural sociology often takes social media for granted, removed from analytical or theoretical attention. We know little about the perspectives of users or the shared meanings, emotions, and codes that inform social media practices and discourses. Addressing this gap requires examining how users imagine, understand and use social media in ways that foment culturally-meaningful social networks and it would "thickly describe" the discourse that they create and share across these networks. This article uses social drama theory to understand the creation of community and collective action among a group of citizen bloggers in post-Hurricane Katrina New Orleans. Informed by their shared grievances and motives, users created a collective social drama across their blogs. This social drama was an important resource with which users developed trusting social ties, voluntary relationships, a sense of community and offline collective actions. These developments were realized in part due to the cultural affordances of the blog platform, the ability to easily, efficiently and effectively communicate and consume richly meaningful and emotive texts unhindered by data limits or media modalities. The cultural affordances of blogs were such that people were able to communicate their shared grievances in the form of social drama, over an extended period of time, and develop meaningful, emotive connections with each other through social media. [ABSTRACT FROM AUTHOR]

Debating the nature of the media performances requires apprehending its theatricality: the drama, the script, the fictional links that keep potent the plots involving subjects. In a deeply selfreferential context, in which positions and scenarios in digital social networks trigger conflicting points of view about individuals, it is necessary to question: what are the variables around the adhesion to performance actions in digital social network contexts? The analysis of controversies involving subjects in high visibility contexts modulate different ways of theater conflict, triggering a pragmatic of network action and their places of performance in different performative frames. [ABSTRACT FROM AUTHOR]

Copyright of Dicenda: Cuadernos de Filologia Hispanica is the property of Universidad Complutense de Madrid 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 article provides a descriptive, multiperspectival account of #GaysOverCOVID, what the late anthropologist Victor Turner termed a "social drama" featuring gay Instagram influencers behaving in a manner that, according to their critics, poorly represents the gay community. Building on other social media scholars' theorization of the influencer as a kind of representational laborer, this article examines the various "representational imperatives" to which Instagays, Instagram influencers who specialize in homoerotic selfportraiture, were subjected from various publics during the COVID-19 pandemic. Drawing from two large data sets, collected during a lengthy participant observation of "gay Instagram," I endeavor to describe in visual and empirical terms the discursive construction of a public figure. I conclude by examining the impact this "social drama" has on LGBTQ representational politics. [ABSTRACT FROM AUTHOR]

Copyright of Studia Norwidiana is the property of Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego Jana Pawla II 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 Studia Norwidiana is the property of Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego Jana Pawla II 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 Bulgarian Language & Literature / Bulgarski Ezik i Literatura is the property of Az Buki National Publishing House 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.)