scholarly journals Gender Aspect of the Image of Altai in George Grebenstchikoff’s Works

2020 ◽  
pp. 210-218
Author(s):  
Viktoriya N. Karpukhina ◽  
Keyword(s):  
Gender Identity ◽  
Fairy Tale ◽  
Eternal Life ◽  
Literary Texts ◽  
Internal Space ◽  
Running Water ◽  
English Grammar ◽  
The World ◽  
Gender Characteristics ◽  
The Relationship

The paper considers gender characteristics of the image of Altai in fiction and publicistic texts by George Grebenstchikoff. The texts under consideration are Grebenstchikoff’s essays Altai Rus’, My Siberia, the fairy tale Khan-Altai in Russian and in English. The paper aims at revealing the relationship between the narrator and the locus of the texts in terms of the category of gender. Imagological characteristics of the image of Altai gender identity in Grebenstchikoff’s texts show the mixture of subjective, emotional, objective, philosophical and analytical narrative traditions in these texts about Altai. Gender identity of the image of Altai is connected to the traditional, patriarchal androcentric worldview, when the way of verbal expression is “controlled by the dominating group”, and the reality of the less influential groups is not represented. The masculine nature of Altai, the Mountain Spirit, is shown in the Altai folklore, which is connected to the embodiment of Altai in the images of White Burkhan and his friend Oyrot. Symbolically, this masculine embodiment of Altai exists in George Grebenstchikoff’s texts as the image of Khan-Altai, the reminiscence to the art and prosaic works of Grigory Choros-Gurkin. This masculine image of Khan-Altai is associated in Grebenstchikoff’s texts with the motifs of running water (a river, a spring) and a song glorifying Altai (a hymn of eternal life). Both the masculine KhanAltai himself as well as Khan-Oirot, the male embodiment of the river (Chulyshmanbogatyr), the shepherd, and the shaman Bakhsa are endowed with a voice, can sing and, thus, participate in the communication with the gods and forces of nature. In selftranslations (My Siberia, Khan-Altai) Grebenstchikoff uses the standard pronoun it while referring to Altai. In the patriarchal, androcentric worldview the masculine image of Khan-Altai is represented with the traditional cognitive metaphors as A MAN IS A WARRIOR, A MAN IS A CREATOR and A MAN IS A SINGER. The narrator in Grebenstchikoff’s texts describes the internal space of Altai semiosphere. Opposite to the “chaos”, strange and dangerous space, this “fairy tale”, “mysterious” semiosphere is separated from the outer world by the line of the Altai Mountains. In his publicistic texts, Grebenstchikoff’s narrator is expressly objective, transferring the folklore metaphor ALTAI – BOGATYR, firstly, with the help of represented speech, and then, with by direct citing from the Altai epic. In the fairy tale Khan-Altai, the narrator is extremely emotional and subjective: he speaks directly to Altai-Bogatyr [Giant Altai], which is related to gaining insight into the spiritual vertical as well as the narrator’s ascending to the female embodiment of Altai – its highest peak, Belukha. The reference to Belukha, the queen of Altai, is made in Grebenstchikoff’s texts with the help of the pronoun ona / Ona [she / She]. The same strategy is used in the self-translations into English: the author uses the pronoun she / She contrary to the rules of the English grammar. Masculine embodiment of Altai, Khan-Altai, is the reminiscent image in Grebenstchikoff’s texts. But the real embodiment of Altai is a strong archaic symbol of the Altai queen, “the queen of Asian mountains”, the Belukha, which creates the spiritual stairs of the world for the narrator and his follow-travelers. The writer follows there the traditions of Russian Romantic montanistics, reconsidered in the context of modernism. The masculine embodiment of the Altai image, Khan-Altai, turns out to be a “reminiscence image” in the reviewed Grebenstchikoff’s journalistic and literary texts. The true embodiment of Altai is the powerful archaic image-symbol of the queen of Altai, the “queen of the Asian mountains” Belukha, who creates for the narrator and his companions the “spiritual vertical” of the world.

scholarly journals Hazrat Fatima Al-Zahra: As a mother, daughter, and wife

2010 ◽  
Vol 3 (1) ◽  
pp. 13-27
Author(s):  
Alweena Afsar
Keyword(s):  
Human Heart ◽  
Eternal Life ◽  
Basic Field ◽  
Men And Women ◽  
Philosophy Of Life ◽  
Perfect System ◽  
The Reformation ◽  
The World ◽  
Gender Characteristics ◽  
At Home

It is the law of Allah that Muslim Ummah would be the best Ummah of the world, who order goodness and halt evils, who will spread the message of Allah to each corner of the world who will strive to make Islam dominant religion of the world. Such a nation should be example of unity and discipline. This Ummah should be exemplary in its action and views for all nations. Islam is a live religion and perfect system of life. It gives such a balance philosophy of life which fills human heart with spiritual strength and joys. Islam doesn't teach seclusion, it teaches to take advantage of bounties of Allah with all its beauty and sophistication. Men and women compliment each other, they are life partners, and companion at equal level. However Islam draws a line between their field of work and responsibilities. The basic field of man is outside and women's field is inside the home. The purpose of this division is not in any sense of discrimination; the purpose of this division is to save gender characteristics of both. As far as levels in religion are concerned men and women, both are kept on two levels: one is ordinary and the other is special level. Ordinary level is the level which is due for every women, she should pay the rights of Allah and his people as ordered by Allah. She should fight against evil thinking and satanic instincts in her personal capacity. She should prefer eternal life over this worldly attraction. Second duty of women is training and guidance of her children, every woman at last become a mother and mother has very deep relation with her children and this relation can be destructive and constructive, being a Muslim it is the duty of women to make this relation constructive and use it for the reformation of society. Third, this is a compulsion for woman she should not create problem for her husband and family. Usually women create unnecessary trouble for husband and family which destroy peace at home and home feels like a desert. If women just maintain peace at home this is a big job. If women have more talent and qualities then she can go ahead to exploit her talent which is called special level and one example of special level is daughter of our beloved Prophet Mohammad S.A.W "KHATOON E JANNAT" Hadhrat Fatima R.A.

Gamers' Ego Identity Influences Referral Program Involvement

2018 ◽  
Vol 46 (11) ◽  
pp. 1847-1857
Author(s):  
Chia-Wen Lee ◽  
Shih-Hung Cheng ◽  
Genmiao Ma ◽  
Ching Li
Keyword(s):  
Correlation Analysis ◽  
Gender Identity ◽  
Canonical Correlation Analysis ◽  
Canonical Correlation ◽  
Ego Identity ◽  
The Third ◽  
Significant Relationships ◽  
The World ◽  
Program Involvement ◽  
The Relationship

We explored the relationship between referral program involvement and the ego identity of online gamers. We recruited 429 participants who had used the World of Warcraft referral program to recruit a friend. The results revealed significant relationships between referral program involvement and ego identity, and three canonical factors were extracted. The first canonical correlation analysis revealed that higher overall referral program involvement is more likely to catch the attention of online gamers with ego identities that are aimless, disobedient, unsociable, or paranoid. The second canonical correlation analysis suggested that referral program involvement is positively associated with the ego identity factors of being self-willed or paranoid, and negatively associated with those of being aimless, multi-exploring, and having gender identity issues. The third canonical factor showed that those respondents with referral program involvement for exciting, fascinating, and appealing factors are positively associated with ego identity characteristics of liking challenges, being self-willed, and having gender identity issues.

scholarly journals Љепота умирања – визија раја однос према смрти у средњовје- ковној српској литератури

2019 ◽  
Vol 168 ◽  
pp. 401-411
Author(s):  
Slavica Vasiljević Ilić
Keyword(s):  
Eternal Life ◽  
14Th Century ◽  
Major Topic ◽  
Stage Scheme ◽  
The World ◽  
Three Stages ◽  
The Relationship

The beauty of dying: A vision of heaven the relationship with death in medieval Serbian literatureDeath presents a major topic in the medieval Serbian literature, the manner of dying being crucial for gaining eternal life. There are three stages in the schematized description of death: announcement, transition and vision of what the hero may expect in eternal life. At each stage there are images and symbols of the world beyond that present death as something pleasant and desirable. In terms of death, it is Saint Simeon as the founder of the dynasty of Nemanjici and the first national saint and Czar Lazar Hrebeljanovic that drew most of the attention, the former being described by four authors in five pieces of work, the latter due to his heroic end against the infidels in the Battle of Kosovo. It is not long before the three-stage scheme is disturbed in early hagiographies, with the 13th and 14th century heroes embracing death in most cases there are saints in question, whereas it is already in the following century in poetry, for instance, that there emerge not so favourable accounts of death.  Красота умирания — видение рая отношение к смерти в средневековой сербской литературеСмерть является одной из центральных тем в средневековой сербской литературе. Ключом к обретению вечной жизни является способ умирания. Описание смерти схематизировано, состоит из трех частей: предупреждение, переход и видение того, что персонажа ожидает в вечной жизни. На каждом этапе появляются картины и символы потустороннего мира, на которых смерть изображена красивой и желанной. В сербской средневековой литературе внимание обращено прежде всего на смерть Св. Симеона, родоначальника династии Неманичей, первого национального святителя, а также на смерть Св. князя Лазаря, умершего в борьбе против неверующих, вместе со своими войнами. Наблюдаются отступления от установленной трехкомпонентной схемы первых житий. Герои житий и слов XIII и XIV вв. святые воспринимают смерть как переход в вечную жизнь, в XV в. появляются иные изображения смерти представленные в негативном ключе, например, в поэзии.

scholarly journals Representation of the concept of Love in Marina Tsvetaeva's epistolary and in the works of Russian philosophers

2021 ◽  
pp. 40-51
Author(s):  
E. V. Minaieva ◽  
Keyword(s):  
Maternal Care ◽  
Literary Texts ◽  
Internal Conflict ◽  
Marina Tsvetaeva ◽  
The World ◽  
Gender Characteristics ◽  
And Gender ◽  
Epistolary Texts ◽  
Female Picture ◽  
Gender Characteristic

The article highlights and examines several important gender characteristics of the concept of „love” based on the material of Marina Tsvetaeva's epistolary texts, namely: immensity, spontaneity, conflict of body and soul, pain, maternal care. The activity characteristic of the immensity in the letters of M. Tsvetaeva testifies to the high degree of the author's entry into the spiritual sphere. The gender characteristic of the immensity in Tsvetaeva's texts correspond to the features of female love described by the philosopher N. Berdyaev. The characteristic of spontaneity is manifested in the fact that Tsvetaeva perceives love as an element, an independent force that a person is not able to control. The gender characteristic of the conflict of soul and body was highlighted on the basis that Tsvetaeva was often in a state of internal conflict, soul and body came into confrontation. The gender characteristic of the conflict of soul and body is also based on the fact that Marina Tsvetaeva reproached men that they are largely interested not in the soul of a woman, but her body. The gender characteristic of pain is manifested in the fact that, despite the fact that the words „pain”, „suffering” usually has a negative connotation, a woman has a unique ability to penetrate through them into the very depths of the phenomena of the inner and surrounding worlds, as both Marina Tsvetaeva and Russian philosophers write about. Pain and suffering, therefore, take an active part in shaping a woman's worldview. The gender characteristic of maternal care is highlighted as active in Marina Tsvetaeva's epistolary, and the connection between the female picture of the world and this sign of the concept of Love was also recorded by Russian philosophers. The study showed that the conceptual analysis of literary texts makes it possible to reconstruct and correlate the metagender and gender characteristics of cultural constants, taking into account the idiosyncratic features of a particular author. The inclusion of the gender parameter in the linguistic consideration of concepts allows us to significantly expand the idea of language as a means of constructing a picture of the world, including an artistic one.

scholarly journals De Levendes Land

1970 ◽  
Vol 23 (1) ◽  
pp. 67-77
Author(s):  
Niels Egebak
Keyword(s):  
Kingdom Of God ◽  
The Other ◽  
Eternal Life ◽  
Main Section ◽  
Logical Sequence ◽  
The World ◽  
The Status ◽  
Important Position ◽  
Romantic Conception ◽  
The Relationship

De Levendes Land (The Land of the Living).An interpretation By Niels EgebakBy way of introduction this analysis (which has also appeared in a book of readings on the poem) assumes that the cultural and literary complex of problems in which the poem belongs should be looked upon as a text, to which the hymn under consideration bears an intertextual relationship. The biographical and psychological data relevant to the text, on the other hand, only acquire the status of text in the poem “de Levendes Land”; therefore they should be considered in the light of the poem, and not vice versa.The structure of the poem reveals the covert process that opposes it to Kingo’s hymn “Far, Verden, far vel” (a farewell to the world). By making the final stanza appear as the initial stanza in a later version Grundtvig admits its strategic significance. The two main sections of the poem consist of four smaller subtexts with the mutual relationships ABGD, each consisting of three stanzas: A depicts a land beyond time, whereas B dismisses this dream, C: the lost Paradise is regained here and now through the Christian faith, which, although it does not disown human nature, does not deify or idealise it. D: hope, reborn and confirmed in baptism, makes possible the realisation of the dream of Paradise through love emanating from above. E: the last stanza points out what makes this possible: Christianity with its message of love which applies both in heaven and on earth—that is, even “when the eye is blue”.It is asserted that in the poem there is a direct connection between Grundtvig’s settlement with Kingo and his settlement with romanticism. The first main section is a parody on Kingo’s conceptual universe; in the second main section he is taken to task: his attempt to describe blessedness through wordly values is rejected with contempt, whereas the romantic conception of childlike naivete as the way of admission to the lost Paradise is repeated in the text in the prayer to “Kærligheds Aand” (spirit of charity) (st. 7 ), echoing the Christian commandment that »Whosoever shall not receive the kingdom of God as a little child, he shall not enter therein”.The possibility that poetry “med Mund og Pen” (with mouth and pen) might restore the dream of Paradise is rejected: Nothing but a reflection, a likeness will come out of it (st. 5 ). Nevertheless, the poem itself is such a likeness, anticipated already in the poem “Nyaars-Morgen” (New Year’s Morning). Grundtvig must have wished to face the inevitability of death, live through the loss of an eternal life in a wordly sense, and then return without having become an unhappy man.—A comparison with “O Christelighed ’’shows that the word “I” has an important position in the original poem as compared to “we” in the rewritten version.C differs from the other three subtexts in that the textual sequence is reverse to the logical sequence. This inversion has the effect that the entire section 2 may be read as an inversion of section 1, which fact seems to have some bearing on what the text says about the relationship between romanticism and Christianity. The innocence we have lost may be regained through baptism, poetry gains power from a spark of the spirit of God, in Christian hymns the likeness becomes a hope that brings happiness, where the dream brought only grief and distress—this point is elucidated by a comparison of st. 4 and st. 10. In the poem we see a tension between two philosophies of life, romanticism and Christianity, an as yet unsettled struggle between an established ideology (romanticism) and an ideology that is still trying to find its proper course (Grundtvigianism). In the rewritten version “O Christelighed” the Grundtvigian ideology has become established. This, however, did not make Grundtvig a greater poet.

To the results of the discussion about the folklore identity of the Kalmyk tale from “The Captain’s Daughter” by A.S. Pushkin

Neophilology ◽  
2020 ◽  
pp. 503-511
Author(s):  
Aleksey A. Burykin
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Original Work ◽  
The People ◽  
The World ◽  
The Subject ◽  
Plot Structure ◽  
Relationship Of ◽  
Independent Work ◽  
The Relationship

The subject of the work is the Kalmyk fairy tale about the eagle and the raven, which is present in the story of A.S. Pushkin “The Captain’s Daughter” (1836). One group of scientists believes that this fairy tale-parable was composed by A.S. Pushkin himself. We represent those researchers who recognize this fairy tale as an independent work of A.S. Pushkin during a trip to the Orenburg region. Despite the fact that this tale is absent in the manuscripts of A.S. Pushkin and is not identified in the folklore of Russian Kalmyks, there are serious reasons to recognize it as an original work of Kalmyk folklore. This is convinced by the structure of the tale’s plot, which is becoming a series of tales about the relationship of animals, the recording of a similar tale among the Evens – the people of the Tungusic group, the existence of the same tale among the Xinjiang Kalmyks, the availability of information about the Kalmyk woman who told this tale to A.S. Pushkin, the widespread opposition of the eagle and the raven in the folklore of the peoples of the world, the presence of such semantic structures in the indexes of fairy tales and motives of S. Thompson. By the nature of the semantic elements composition and the plot structure, we can judge that neither A.S. Pushkin, nor anyone else could have composed such a fairy tale.

Autobiographical narration in short prose by Yevgeniya Bozhyk

2020 ◽  
pp. 88-94
Author(s):  
Tetiana Tkachenko
Keyword(s):  
Short Stories ◽  
Literary Texts ◽  
Stream Of Consciousness ◽  
Time And Space ◽  
Textual Structure ◽  
The World ◽  
Rhetorical Constructions ◽  
The Moment ◽  
The Relationship ◽  
The Universe

The article devotes to the analysis of the autobiographical aspect of narration in short prose by Yevgeniya Bozhyk (1936–2012). It investigates interesting stories, essays, sketches as well as short stories. They are united by a holistic thematic and problematic circle of relevant universal issues that are outside of time and space. The writer reveals the secrets of her creative laboratory, uses various expressive means (metaphor, metonymy, refrain, symbol, rhetorical constructions, ellipse, excursion and anticipation, stream of consciousness, and open finale). She emphasizes such qualities of the creator as the ability to hear and listen, to catch the slightest nuances of mood in the world around her. It is noteworthy that literary texts have components of fiction, journalism in confessional presentation (author, hero and reader). The works have unique textual structure (fragmentation, sensitive dominant, intersemiotic components, primarily musical, aphoristic statements, changes in tempo, and autoallusions). The writer can communicate with people, read thoughts and feelings thanks to fine mental organization, guess unsaid things by female intuition, feel the relationship with the interlocutor at the highest sensory and mental levels. The artist of the word manages to capture the moment when there are changes in nature and man — two components of the universe. Therefore, the reader also becomes an author. He empathizes with the heroes, relates them to himself, learns and ponders what he has read. So, the creator builds conditional and frank conversation with each recipient of her works. Yevgeniya Bozhyk reproduces in literature her rich experience of meeting with different people (prototype characters), sharing her own view of the world with the reader and presents the vision of the Motherland in the bright and exciting kaleidoscope of events, perceptions, reflections. The keynote is the search for Man and Will. Only the brave can get rid of stereotypes and slavery. Indeed, the freedom of the country is unthinkable without the freedom (primarily spiritual) of each of its citizens.

scholarly journals Word and truth — a look at Johannes V. Jensen’s journalism. Part 1

2021 ◽  
Vol 19 (1) ◽  
pp. 139-163
Author(s):  
Aage Jørgensen
Keyword(s):  
Present Article ◽  
Travel Literature ◽  
Fairy Tale ◽  
Good Reason ◽  
Nobel Prize Winner ◽  
Critical Commentary ◽  
Native Soil ◽  
The World ◽  
Title Word ◽  
The Relationship

Since the establishment of the Johannes V. Jensen Centre at Aarhus University in 1993, studies of the Nobel Prize winner have shifted from the biographical to the textual. At the same time, the publication especially of early works with critical commentary has intensified. The present article traces some themes throughout a half-century of Jensen’s journalism which was first assembled in book form in 2014 under the title Word and Truth. The material brings more nuance to impressions of the poet’s opinions and positions, also because the anthologizing of his journalistic works has until now and for good reason skimmed only the cream. Now the dregs are considered as well, and even this portion of Jensen’s work impresses with its linguistically seductive energy and fascinating images. Most of the articles Jensen himself agreed to have reprinted and they were included in the so-called mythic volumes. Jensen regarded myth as a special genre, his own reply in all modesty to what H. C. Andersen had done for the fairy tale. Jensen’s journalism spans also biographically from the poet’s native soil in Jutland to distant parts of the world, with the capital as well as rural Tisvilde as important stops along the way. The poet’s efforts to protect nature and the implied archeological interests (not only in a Danish context) are reflected in a number of articles. Just as meaningful, but modernity-oriented, is an enthusiasm for technical development, machinery, traffic on land, sea and air. Life’s origins and the development of the species are viewed in a Darwinist perspective. The present article’s second part deals with Jensen’s tradition-bound understanding of the relationship between the sexes and, in that connection, with his fear of “sexual confusion” often mentioned, most painfully in the 1907 intimidation of his colleague Herman Bang. Finally, attention is given to the part of Jensen’s journalism which portrays his own travels and his writings on others’ contributions to the genre of travel literature.

Butor's Use of Literary Texts in Degrés

PMLA ◽  
1973 ◽  
Vol 88 (2) ◽  
pp. 311-320 ◽  
Author(s):  
Jennifer R. Walters
Keyword(s):  
Personal Experience ◽  
Full Range ◽  
Literary Texts ◽  
The Novel ◽  
Willingness To Participate ◽  
Relevant Fact ◽  
Sequence Of Events ◽  
The World ◽  
Relationship Of ◽  
The Relationship

The construction of Degrés is based on a series of texts taken from Western literature and ranging from Homer to Keats. These are grouped in different ways around a brief sequence of events, and it is the responsibility of each reader to elaborate on the scanty story by using the information offered by these texts, to the extent of his knowledge, awareness, and willingness to participate in the creation of the novel. An analysis of the texts extracts the information each contains, then correlates relevant fact and possible interpretation in order to show clearly the two major themes of the novel: the relationship of Vernier to his nephew Eller, and the vast possibilities open to man in the world; and the three styles of presentation: as a structure, a personal experience, and a retrospective fact. Butor teaches his readers to understand his work by attempting to break down mental barriers between different fields of experience and force people to draw on the full range of their knowledge at all times.

scholarly journals Uwagi etymologiczne w dawnych tekstach użytkowych (na przykładzie Kroniki, to jest historyi świata Marcina Bielskiego, Informacyi matematycznej Wojciecha Bystrzonowskiego i Nowych Aten Benedykta Chmielowskiego)

2021 ◽  
Vol 28 (2) ◽  
pp. 87-105
Author(s):  
Dorota Kozaryn ◽  
Agnieszka Szczaus
Keyword(s):  
Sixteenth Century ◽  
Literary Texts ◽  
The Past ◽  
The World ◽  
History Of ◽  
The Subject ◽  
Entire World ◽  
The One ◽  
The Relationship

The subject of the analysis in the article are the etymological explanations presented in the old non-literary texts (i.e. the texts that function primarily outside literature, serving various practical purposes), i.e. in the sixteenth-century Kronika, to jest historyja świata (Chronicle, that is the history of the entire world) by Marcin Bielski and in two eighteenth-century encyclopaedic texts: Informacyja matematyczna (Mathematical information) by Wojciech Bystrzonowski and Nowe Ateny (New Athens) by Benedykt Chmielowski. The review of the etymological comments allows us to take notice of their considerable substantive and formal diversity. These comments apply to both native and foreign vocabulary. On the one hand, they provide information on the origin of proper names (toponyms and anthroponyms), and on the other hand, a whole range of these etymological comments concern common names. A depth of etymological comments presented in non-literary texts is significantly diversified and independent of the nature of the vocabulary to which these comments apply – they can be merely tips on sources of borrowings of foreign words, but they can also constitute a deeper analysis of the meaning and structure of individual words, both native and foreign. These comments are usually implementations of folk etymology. The role of etymological considerations in former non-literary texts is significant. First of all, these texts have a ludic function, typical of popularised texts – they are supposed to surprise, intrigue and entertain readers. Secondly, they serve a cognitive function typical of non-literary texts – they are supposed to expand the readers’ knowledge about the world and language. Thirdly, they have a persuasive function, which is a distinctive feature of both popularised and non-literary texts – they are supposed to provoke the readers’ thoughts on the relationship between non-linguistic reality and the linguistic way of its interpretation, they also stimulate linguistic interests, which was particularly important in the past when the reflection on the native language was poor.

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