scholarly journals Genre Features of the Novel Epic in Ossetian Literature: Correlation between Ideological and National-Ethnic

2020 ◽  
Vol 1 (10) ◽  
pp. 280-296
Author(s):  
I. V. Mamieva
Keyword(s):  
The Novel ◽  
The Past ◽  
Character System ◽  
The People ◽  
The Family ◽  
Russian Literary ◽  
Literary Process ◽  
The Individual ◽  
Ideological Identity ◽  
First Time

The specific features of epic narration in the Ossetian novel prose (1940-1960) in the context of the all-Russian literary process are considered. The problem solved in the article is actualized in the light of the conceptual differences that emerged in the post-Soviet era in the interpretation of the essence of the concept of “epic novel”, in the attribution of its genre status. The purpose of the article is to specify the typology of the epic chronotope and character system, to identify the issues of the structural completeness of works. A typological method is used with the use of an axiological approach, which allows us to focus both on the spiritual and content aspect of artistic searches and on the pseudo-scale tendencies in the novel-epic practice of the aforementioned decades. The novelty of the work lies in the fact that for the first time, using the example of Ossetian prose, the process of the emergence of a new genre variety in national literatures is investigated. Special attention is paid to the aspects of deactualization of the national-ethnic in the behavioral sphere of characters in favor of sharpening their ideological identity. At the same time, it is shown that in the system of images, in the very poetics of narration, through the ideological sharpening inevitable for time, an orientation toward the foundations of national consciousness, toward the spiritual and historical experience of the people appears. It is concluded that works of an epic type, despite the tangible costs of an ideological and partly aesthetic order, were a new stage in the interpretation of epoch-making events of the past by Ossetian literature in their conjunction with the life of the people, the microcosm of the family and the individual.

Sahadi's: A Family Affair

2012 ◽  
Vol 12 (2) ◽  
pp. 87-90
Author(s):  
jason leahey
Keyword(s):  
Customer Service ◽  
Cultural Landscapes ◽  
Ethnically Diverse ◽  
Customer Base ◽  
The Past ◽  
The People ◽  
The Family ◽  
History Of ◽  
The Individual ◽  
Business Philosophy

This story details the history, wares, and business philosophy of the Sahadi Importing Company, a third-generation Lebanese-American family food business in Brooklyn. It begins by noting the ways Brooklyn's commercial and cultural landscapes have drastically changed over the past few years, positioning Sahadi's as a local throwback to the borough of yore still thriving next to the powerful and national businesses that are now its neighbors. It then relates the history of the store and the family, starting in 1895 up until 2012, relating the growth from small ethnic importer on the Lower East Side of Manhattan to the successful importer/manufacturer with a broad customer base that it is today. The essay attributes credit for the health of the business to the owner's emphasis on the personal touch in customer service, noting that he considers his business’ character as a family institution, not its financial success, his proudest accomplishment. Lastly, the essay relates the owner's pride in having an ethnically diverse staff and his belief that the people who comprise a family need not necessarily be related by blood, positing that Sahadi's family business may more accurately be considered business-as-family, and that such a warm attitude that emphasizes the individual is a small taste of the locally oriented America of the past.

scholarly journals ESTATES IN LEO TOLSTOY’S NOVEL “RESURRECTION”: FROM DENOUNCING LUXURY TO LIFE ON LAND

2021 ◽  
Vol 26 (2) ◽  
pp. 144-154
Author(s):  
Valeria G. Andreeva ◽  
◽  
Keyword(s):  
Literary Criticism ◽  
Spiritual Growth ◽  
The Novel ◽  
Inner Life ◽  
Creative Imagination ◽  
The People ◽  
Work Family ◽  
The Individual ◽  
First Time ◽  
Final Text

For the first time in literary criticism, the author of the article turns her attention to the image of the estate in Tolstoy’s later artistic work, showing the dynamics of the writer’s views on estate life, the image of an ideal estate, which for Tolstoy was always associated with the motives of work, family life, proper attitude towards the people, etc. It is noted that in 1880–1910, the estate theme in Tolstoy’s creative imagination was directly related to the problems of land ownership, proper management and correct and gradual path of the individual and their spiritual growth. The picture of estate life In Leo Tolstoy’s novel “Resurrection” is realized in two contrasting versions: luxurious existence of the upper class and the aristocracy, not supported by any content, and transforming into a new image of the working life of the intelligentsia and landowners on the land. The author demonstrates the facts of impoverishment of estate life at the turn of the 19th–20th centuries, which are introduced in the artistic world of the novel. It is proved that the idea in the work of inseparable connection of a person with the people around him and with humanity at large, which is the key conception of the novel, is directly related to Tolstoy’s understanding of the change of the forms of estate life, important and dear for the writer himself. Of great importance in the novel is the awareness of the characters of natural life, which is presented in contrast to civilization, which deviates from the basic laws of love and goodness. On the basis of an analytical comparison of the drafts of the novel and the final text, the author substantiates the importance of the estate theme for understanding the feelings of the protagonist and his inner life, for organizing the epic artistic world of the novel. The article illustrates the stages of the dialectical movement of Dmitry Nekhlyudov and the connection between the estate and family themes. The author rethinks some episodes of the novel that have received controversial interpretations in science and reveals the artistic links that connect different chapters of the work.

Visualizing genealogy through a family-centric perspective

2016 ◽  
Vol 16 (1) ◽  
pp. 74-89 ◽  
Author(s):  
Robert Ball
Keyword(s):  
Family Relationships ◽  
Time Frame ◽  
Temporal Context ◽  
New Paradigm ◽  
The Past ◽  
Future Behavior ◽  
The People ◽  
The Family ◽  
The Individual ◽  
The Right

Genealogy is a way to tell a story. Stories tell us who we are, where we came from, and are a foundation for future behavior. Genealogical visualizations are used to help understand and share the story of the past with others. Modern research for genealogy emphasizes the stories of families and communities. However, most genealogical visualizations are focused on the individual and have a number of limitations including not giving accurate stories of families and timelines. This article presents a temporal family-centric visualization paradigm that focuses on families and communities. It is unique in that it shows all the family relationships of individuals while at the same time putting the people into a correct historical and temporal context. In addition, it shows where temporal information is missing and uses heuristics to place people in approximately the right time frame. The new paradigm allows people to understand their stories of their families and the communities that they came from in order to create a whole story with context and details.

Buried Narratives: Exhuming the Mother's Story in Oliver Twist

2018 ◽  
Vol 8 (3) ◽  
pp. 247-266
Author(s):  
Michelle L. Wilson
Keyword(s):  
Social Change ◽  
Maternal Inheritance ◽  
The Novel ◽  
Poor Law ◽  
The Family ◽  
The Law ◽  
First Time ◽  
Critical Consideration

Initially, Oliver Twist (1839) might seem representative of the archetypal male social plot, following an orphan and finding him a place by discovering the father and settling the boy within his inheritance. But Agnes Fleming haunts this narrative, undoing its neat, linear transmission. This reconsideration of maternal inheritance and plot in the novel occurs against the backdrop of legal and social change. I extend the critical consideration of the novel's relationship to the New Poor Law by thinking about its reflection on the bastardy clauses. And here, of course, is where the mother enters. Under the bastardy clauses, the responsibility for economic maintenance of bastard children was, for the first time, legally assigned to the mother, relieving the father of any and all obligation. Oliver Twist manages to critique the bastardy clauses for their release of the father, while simultaneously embracing the placement of the mother at the head of the family line. Both Oliver and the novel thus suggest that it is the mother's story that matters, her name through which we find our own. And by containing both plots – that of the father and the mother – Oliver Twist reveals the violence implicit in traditional modes of inheritance in the novel and under the law.

scholarly journals The Concept of Victorianism in A. S. Byatt’s “Posession”

2019 ◽  
Keyword(s):  
Literary Criticism ◽  
Victorian Novel ◽  
The Novel ◽  
Victorian England ◽  
Victorian Era ◽  
English Novel ◽  
The Past ◽  
Russian Literary ◽  
Postmodern Novel ◽  
Current Research Interest

The late 1990s – early 2000s was a time of numerous projects dedicated to the Victorian age and the Victorian novel as a specific phenomenon that inspires the modern novel development. The English postmodern novel with its typical narrative, time transferal to Victorian England, weaving of time layers, invokes current research interest. The relevance of this study is caused by considerable interest of researchers in the Victorian era heritage and by need of a comprehensive study of Victorian linguoculture and its implementation in the modern English novel. The Victorian text influences a new genre of the novel that reflects the gravity of modern English prose to the traditional literature of Victorian era, assumed to be particularly important in this context. The analysis of A. S. Byatt’s “Possession” in the Russian literary criticism was made only by O. A. Tolstykh; in the Ukrainian science, this work was investigated by O. Boynitska in the context of searching the past, so this subject is not investigated enough, and in our opinion is new and relevant, especially from the perspective of the “Victorian era” concept embodied in the novel. The aim of the paper is to analyze the “Victorian era” concept peculiarities in the intercultural context, on the basis of A. S. Byatt’s “Possession” as a Victorian novel. The paper takes into account the reproduction of concepts of Marriage, Home, Family, Freedom, Life, as components of “Victorian era.” The Victorian family is often represented through the place of their dwelling; therefore, the great Victorians’ works are overwhelmed by interior descriptions (Dombey’s house, Miss Havisham’s home, Mr. Rochester’s Castle). However, in “Possession,” there is an obvious contrast of Victorian buildings to the same structures in the XX century: the past prime – the modern decline. All the secrets and delusions hidden behind the facades of supposedly respectable buildings result in distorting facts and, to some extent, to violating the rights of ownership to the memories of the past. This gives another meaning to the title of the novel – “possession,” that is ownership, possession of letters, memory, truth.

scholarly journals Gogolesque in the novel “The Life of Arseniev” by Ivan Bunin

2021 ◽  
Author(s):  
Elena Vranchan
Keyword(s):  
Point Of View ◽  
Small Scale ◽  
The Novel ◽  
Old World ◽  
The Past ◽  
The Family ◽  
Artistic Interpretation

The article deals with the peculiarities of the patriarchal noble-peasant life description in the novel “The Life of Arseniev” (1930) by Ivan Bunin, focuses on the use of characteristic Gogol’s images and techniques. Moreover, the comparison of the artistic interpretation ways of the patriarchal past by the writers reveals the Gogol's influence on the position of Bunin as the author, which is presented in the novel in different ways: from the point of view of an observer narrator who topographically accurately depicts the reality and life of the family estate, and from the point of view of an emigrant, focused on memories of the past, conveying an emotional sense of the connection between generations. In general, Bunin continues to develop the theme of the collision of immobile patriarchy with the quick movement of time that destroys the old serfdom, so his novel is imbued with nostalgia for the small-scale world going into the past. In Bunin's nostalgia, there are echoes of Gogol's sorrow about the doomed old world life.

scholarly journals The Updating in Satir’s Family Therapy Model

2017 ◽  
Vol 5 (1) ◽  
pp. 425
Author(s):  
Neşide Yıldırım
Keyword(s):  
Family Therapy ◽  
The United States ◽  
Communication Patterns ◽  
Self Confidence ◽  
Perspective Change ◽  
The People ◽  
The Family ◽  
The Status ◽  
History Of ◽  
The Individual

Virginia Satir (1916-1988) is one of the first experts who has worked in the field of family therapy in the United States. In 1951, she was one of the first therapists who has worked all members of the family as a whole in the same session. She has concentrated her studies on issues such as to increase individual's self-esteem and to understand and change other people's perspectives. She has tried to make problematic people compatible in the family and in the society through change. From this perspective, change and adaptation are the two important concepts of her model. This is a state of being and a way to communicate with ourselves and others. High self-confidence and harmony are the first primary indicator of being a more functional human. She starts her studies with identifying the family. She uses two ways to do this; the first one is the chronology of the family that is history of the family, the second one is the communication patterns within the family. With this, she updates the status of the family. Updating is the detection of the current situation. The detection of the situation, in other words updating, constitutes the very essence of the model that she implements. In this study, communication patterns within the family are discussed for the updating, the chronological structure has not been studied. The characteristics of family communication patterns, the model of therapy that is applied by Satir for these patterns and the method which is followed in the model are discussed. According to her detection, the people who face with problems, use one of those four patterns or a combination of them. These communication patterns are Blamer, Sedative/Accepting, distracter/irrelevant and rational. Satir expresses that these four patterns are not solid and unchanging but all of them “can be converted”. For example, if one of the family members is usually using the soothing (sedative/accepting) pattern, in this case, it means that he/she wants to give the message that he/she is not very important in the inner world of the individual itself. However, if such a communication pattern is to be used repeatedly by an individual, he/she must know how to use it. According to Satir, this consciousness may be converted to a conscious gentleness and sensitivity that is automatically followed to please everyone. This study was carried out by using the copy of Satir’s book, which was originally called “The Conjoint Family Therapy” and translated into Turkish by Selim Ali Yeniçeri as “Basic Family Therapy” and published in Istanbul by Beyaz Yayınları in 2016. It is expected that the study will provide support to the education of the students and family therapists.

scholarly journals PLOT ELEMENTS AND MOTIVES OF THE NOVEL “CHEVENGUR” IN PLATONOV’S SHORT STORY “POTUDAN RIVER”

2021 ◽  
Vol 26 (1) ◽  
pp. 44-55
Author(s):  
N. Mikhaylovna Malygina ◽  
Keyword(s):  
Short Story ◽  
The Novel ◽  
Love Story ◽  
Planetary Scale ◽  
The Family ◽  
Analytical Review ◽  
Eugene Onegin ◽  
Intertextual Connections ◽  
First Time

The relevance of the article is determined by the researcher of the semantic poetics of Platonov’s story “Potudan River”. We carry out an analytical review of the lifetime criticism and articles of modern researchers about the story, on the basis of which we formulate the purpose of the study, due to the need for a new approach to the interpretation of the work and the identification of the principles of its poetics. The novelty of the article is determined by the identification of the multilayered symbolism of the title of the story, which allows to establish the insufficiency of the conclusions that the content of the “Potudan River” is limited to the family theme. At the level of micropoetics we reveal symbolic details that connect the content of the story with the motive of love for the distant, medical and construction subjects and revealing the planetary scale of the author’s thinking. For the first time, it was established that Platonov’s story “Potudan River” was written based on part of the plot of the novel “Chevengur” – the love story of Alexander Dvanov and Sonya Mandrova. We show that the heroes of the story “Potudan River” Nikita Firsov, Lyuba Kuznetsova and Nikita’s father are doubles of the characters in the novel “Chevengur” by Sasha Dvanov, Sonya Mandrova, and Zakhar Pavlovich. The connection of the image of Lyuba with the archetype of the bride is considered. The paper reveals for the first time the intertextual connections of the story “Potudan River” with the poem “The Bronze Horseman” and the novel in verse “Eugene Onegin” by A. Pushkin, in the texts of which the writer found material for modeling the ordinary fate of the hero. Multi-level connections of the content of the story “Potudan River” with Platonov’s artistic world, which is a complete metatext, are found, which opens up new opportunities for determining the role of the editing technique and the principles of returning to the plots and motives of the works of the 1920s, as well as their transformation in the writer’s work of the 1930s.

THE ROLE OF KREMENETS UKRAINIAN GYMNASIUM NAMED AFTER IVAN STESHENKO IN THE FORMATION OF YOUNG PERSONALITY (BY THE NOVEL OF ULAS SAMCHUK "THE YOUTH OF VASYL SHEREMETA")

2019 ◽  
pp. 106-111
Author(s):  
Iryna Kominyarska ◽  
Olena Pasichnyk
Keyword(s):  
Young Person ◽  
Literary Analysis ◽  
Theoretical Interpretation ◽  
The Novel ◽  
The First World War ◽  
Literary Heritage ◽  
Literary Process ◽  
Cultural Code ◽  
First Time

The article deals with the literary analysis of Ulas Samchuk's novel «The youth of Vasyl Sheremeta». It explores the proper concept of the philosophical and theoretical interpretation of the significance and role of the Kremenets Gymnasium named after Ivan Steshenko in the formation of a young person by the novel of Ulas Samchuk «The youth of Vasyl Sheremeta». The authors of the article note that the significance of Ulas Samchuk's creative work in the complex literary process lies in its key role in the formation of a new active hero in the Ukrainian prose of the twentieth century. The life and creative path of the prose writer, his literary heritage is a vivid phenomenon in world-wide Ukrainian society, which more clearly reveals the "character of the nation-creating factor" (R. Gromiak). It was investigated that Ulas Samchuk wrote an autobiographical essay-novel in the two volumes "Youth of Vasily Sheremety" about the life of Kremenets and the gymnasium of the 20's. "This book, - says the author, - violates a small part of the problem of our Ukrainian sector. This is a series of questions from the youth environment of the first years after the First World War of one of our provinces. I wanted to lighten them with the ones my eyes saw them, and the way they heard them, my soul. Without special colors, without special "educational trends", without "for" and without "against". My only tendency was to see everything, even my insignificant heroes from a distant provincial town, co-authors of their era. I wanted to show people who later created the content of what we had just experienced in their first time. Do not force the reader and the critic "to be satisfied." I would have liked more to be true. It is proved that in the artistic means of the novel "The youth of Vasyl Sheremeta" the main feature of his outlook is clearly and consistently traced. The language and cultural code of the national identity of the heroes is represented as a phenomenon of Ukrainianity and the formation of a young Ukrainian person. Ulas Samchuk closely connects language and history as an inseparable unity.

Formal Education and Aboriginal Children

1986 ◽  
Vol 14 (2) ◽  
pp. 40-44 ◽  
Author(s):  
M.J. Christie
Keyword(s):  
Formal Education ◽  
Mother Tongue ◽  
Normal Children ◽  
The Past ◽  
The Family ◽  
Aboriginal Society ◽  
Aboriginal Children ◽  
First Time ◽  
Informal Process ◽  
Vast Range

All children, black or white, learn a lot more outside the classroom than inside it. All normal children, by the time they go to school for the first time, have already learnt to speak their mother tongue, have learnt who they are and where they fit into their family or community, and have learnt a vast range of behaviours which are appropriate (and inappropriate) for members of their culture. They have learnt all these through the informal process of socialization which affects all members of every culture throughout their lives. In traditional Aboriginal society, for example, hunting and food preparation skills, the traditional law, patterns of land ownership and important stories from the past, were all learnt informally in the daily life of the family. Only some sacred knowledge would be transmitted formally in a ceremonial context.

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