Nominal Constructions of the Vertical Level in the Yakut Language

At present, the grammatical and semantic study of nominal constructions as a means of conveying metrological concepts is believed to reveal the general picture of the study of the functional grammar of the Yakut (Saha) language. Widespread constructions obtained by the method of continuous sampling from Yakut imaginative literature and folklore serve as the material of the research. The purpose of the article is to identify the structural and semantic features of the expression of nominal structures on the material of the Yakut language. As the subject matter of the research, we chose constructions of a nominal type, expressing the height / growth of an object, the depth of substances, and the length of hanging objects.It is postulated that in the Yakut language, typical constructions with the instrumental affix -nan and with the dative affix -ar, -gar in combination with the postpositions dieri, dyly and tiye ʻdo, up to’ as means of expressing the level differ from each other not only in their structure, but also semantically. To identify the grammatical and semantic features of nominal constructions with the meaning of the level, different techniques have been used: morphoglossing, taking into account the linguistic specificity of the language, based on the Leipzig rules for the representation of texts, metalanguage transmission of the meaning of the level, description of semantic groups and subgroups, semantic analysis of the nominal structure.The basic nominal and postpositional constructions with the meaning of the level are presented; the component composition of the studied units is described; considered and described is also the semantic structure of qualitative-adverbial units with quantitative meaning. Based on the material of the studied units, it has been established that the situation of measuring the vertical level has its own cognitive significance, which is mostly associated with anthropocentrism. The main names of body parts with the instrumental affix -nan, capable of acting as level indicators, except for harah ʻeyesʼ, haas ʻebrowsʼ, uos ʻlip(s)ʼ, tis ʻtooth(s)ʼ, and other parts of a person’s face are revealed. Constructions with the instrumental case preposition -nan are more static and are mainly used with the verbs of being; the constructions with the dative affix -gar and the postpositions dyly, dieri, tiye ʻdo, up toʼ show more dynamics, thanks to the verbs of movement and achievement.

Beyond Belief

Over the last decade, esotericism studies has witnessed a distinct literary turn, as more and more of the field’s primarily religious studies-based researchers have recognized the value, and indeed, centrality, of imaginative literature to the transmission of occult and new religious ideas. Although welcome, this impetus has sometimes taken an anti-aesthetic shape, reducing the texts it incorporates to little more than empirical evidence of authorial belief or practical occult experience. Accompanying this tendency has been a suspicion of the formalist, post-modern, and/or political forms of interpretation common within contemporary literary studies as being ideologically tainted or even wilfully perverse in their resistance to surface meaning. My article uses a case study of Arthur Conan Doyle’s The Land of Mist (1926), a seemingly straightforward example of an emic novel whose author’s spiritualist belief and conversionist intentions are well known, to demonstrate the limitations of such a biographically reductionist hermeneutic, and to call for a greater diversity of approach within literary esotericism studies.

Literary Arrangement of Folklore Plots into the Language of Fiction: The Poem by G. Tukay «SU Anasy» through the Prism of the Folklore and Mythological Basis of the Work

The article is the first attempt to determine the peculiarities of the perception of folklore and mythological plots, with the image of Su Anasy in the center, by Tatar fiction. The relevance and significance of the present research is determined by the lacunarity of this scientific topic in the modern Turkology research. The investigation reflected in this article is based on the use of comparative, systemic, functional and genetic methods, as well as the reconstruction method. The use of these methods is determined by the desire to present a comprehensive analysis of the multifactorial influence of the folklore and mythological specifics of the Su Anasy image on its plot, ideological, ethical and aesthetic adaptation to the field of fiction, that is the aim of the present work. In the course of the analysis, it was established that the central image of the poem of Tatar classic G. Tukay is a kind of quintessence of the traditional worldview of the Tatar ethnos, accumulating the most archaic, basic epistemological and axiological constants. The revealed fact of the dialogue between folklore and imaginative literature, forms an ethnically marked consonance between the two varieties of verbal creativity, and we can claim that this very statement explains the fact that several generations of literary scholars assess the Gabdulla Tukay’s «Su Anasy» as a truly folk work.

At the Service of the Unusual: Ways to Write the Built Environment

This thesis asks the question: in what ways can the language of structural engineering inform, alter and enlarge the language of fiction? My aim is to write our relationship with the built environment in ways that highlight the strangeness of surroundings that we normally take for granted in order to amplify what might usually be a muted aspect of fiction. I argue that 'strangeness' is a useful term since it suggests something of the paradox of a large built form, that it is both manifestly solid and still but also basically a machine for balancing forces that are constantly in motion. The thesis is in two parts: a critical essay followed by a work of fiction. I use a Translation Studies framework to identify characteristics of structural engineering language. The findings of this research inform my creative work. My research essay starts by investigating imaginative literature that expresses the built form as symbol or surface. I conclude from this review that one way of highlighting the strangeness of our built environment is to express the hidden, inner world of the built form. Structural engineers have a unique understanding of this inner world which resists the type of symbolism used in imaginative literature. After exploring research which investigates pathways between rational and imaginative literature, I propose an analysis of the language of structural engineering to uncover characteristics which might inform my creative project. I use a Translation Studies framework, based on Gideon Toury's Descriptive Translation Studies (DTS) and Hans J. Vermeer's skopos theory, to analyse a variety of texts written by engineers. This methodology allows me to identify choices and problems engineers face in 'translating' built forms into written and oral communication. Current Translation Studies theory recognises the importance of context; therefore the discussion of my findings begins by summarising perceptions of the engineering culture, paying particular attention to writing by engineers about the engineering profession. The following three chapters deal in turn with how engineers translate features of the built form associated with: Action and Event, the Relationship between the Human and the Built, and Aesthetics or Felt Response. I conclude my essay with a chapter which introduces my creative work, a novel called I’m Working on a Building, in which I attempt to use characteristics from the language of structural engineering to restore some of the strangeness of these structures, and to promote into view aspects of the physical world which might ordinarily figure as background or veiled symbol. My aim is that the fiction plays with and tests some of the ideas in the research essay rather than illustrating or enacting them. In some ways, the fiction might also contradict the theoretical observations. For example, to what extent was I able to free my work from symbolism? Is the act of writing figuratively and indeed reading a reflexive one? These and other questions raised may generate further discussion.

Kemanusiaan dan Kearifan Sejarah dalam Pemikiran Pramoedya Ananta Toer (Kajian Historiografi)

Initiated from a scientific dichotomy between both literature and history on which one is more scientific and merely an art, that pushes researchers to integrate these domains in attempt to review a work of literature. Literature that embodies humane quality and possesses both personal and social dimension, as well as history that is able to uphold the social and humanistic content of a work, showed that the entity of influence from historians’ belief that they poured in attempt to embellish a tale or signify an opinion. In this qualitative study, researchers will investigate the thoughts of Pramoedya Ananta Toer and his historic novels through a review of historiographic. Therefore, historians’ subjectivities will be seen through their writings. The object used in this study is serial novels entitled Buru Tetralogy, which is full of humanitarian messages, historic knowledges, and literature aesthetics. From the investigation, researchers found out that the issue of humanity become the foundation of Pram’s thought, as well as the portrayal of resistance or fighting movement that was pictured by Pram in his works strengthen the correlation of history and literature. It can be inferred that the scientific existence between literature and history is not a dichotomy, yet literature and historic knowledge may work concurrently in shaping a better humanity society life. The subjective and imaginative literature work from Pram even can be used as a facility for a more humane history learning.

Literature and the Arts as a Basis for Curriculum in the Work of Maxine Greene

Maxine Greene, internationally renowned educator, never regarded her work as situated within the field of curriculum studies per se. Rather, she consistently spoke of herself as an existential phenomenological philosopher of education working across multidisciplinary perspectives. Simultaneously, however, Greene persistently and passionately argued for all conceptions and enactments of curriculum as necessarily engaging with literature and the arts. She regarded these as vital in addressing the complexities of “curriculum” conceptualized as lived experience. Specifically, Greene regarded the arts and imaginative literature as able to enliven curriculum as lived experience, as aspects of persons’ expansive and inclusive learnings. Such learnings, for Greene, included the taking of necessary actions toward the creating of just and humane living and learning contexts for all. In particular, Greene supported her contentions via her theorizing of “social imagination” and its accompanying requisite, “wide-awakeness.” Specifically, Greene refused curriculum conceived as totally “external” to persons who daily attempt to make sense of their life worlds. In rejecting any notion of curriculum as predetermined, decontextualized subject-matter content that could be simply and easily delivered by teachers and ingested by students, she consistently threaded examples from imaginative literature as well as from all manner of the visual and performing arts throughout her voluminous scholarship. She did so in support of her pleas for versions of curriculum that involve conscious acts of choosing to work in order not only to grasp “what is,” but also to envision persons, situations, and contexts as if they could be otherwise. Greene thus unfailingly contended that literature and the arts offer multiplicities of perspectives and contexts that could invite and even move individuals to engage in these active interpretations and constructions of meanings. Greene firmly believed that these interpretations and constructions not only involve persons’ lived experiences, but also can serve to prompt questions and the taking of actions to rectify contexts, circumstances, and conditions of those whose lived lives are constrained, muted, debased, or refused. In support of such contentions, Greene pointed out that persons’ necessarily dynamic engagements with interpreting works of art involved constant questionings. Such interrogations, she argued, could enable breaking with habitual assumptions and biases that dull willingness to imagine differently, to look at the world and its deleterious circumstances as able to be enacted otherwise. Greene’s ultimate rationale for such commitments hinged on her conviction that literature and the arts can serve to not only represent what “is” but also what “might be.” As such, then, literature and the arts as lived experiences of curriculum, writ large, too can impel desires to take action to repair myriad insufficiencies and injustices that saturate too many persons’ daily lives. To augment those chosen positionings, Greene drew extensively from both her personal and academic background and interests in philosophy, history, the arts, literature, and literary criticism. Indeed, Greene’s overarching challenge to educators, throughout her prolonged and eminent career, was to think of curriculum as requiring that persons “do philosophy,” to think philosophically about what they are doing. Greene’s challenges to “do philosophy” in ways that acknowledge contingencies, complexities, and differences—especially as these multiplicities are proliferated via sustained participation with myriad versions of literature and the arts—have influenced generations of educators, students, teaching artists, curriculum theorists, teacher educators, and artists around the world.

Dubrovnik Republic in Russian Historiography in the 19th — the Beginning of the 20th Century

This article concerns the initial period of the phenomena of Dubrovnik Republic, who kept its independence during centuries in the alien ethnic and confessional surroundings. This item seldom appeared in the sphere of attention of the specialists upon the European urban studies. The historian V. V. Makushev (1837—1883), being at the diplomatic service in Dubrovnik, studied the resources and published the scientific results in his articles and monographs. He created his author classification of the sources of the urban problems, evaluated their informational capability, proved the historical value of the imaginative literature. This approach is actual for the analysis of the medieval history of the Mediterranean and other European cities.

Travel and Empire

This essay demonstrates the relationship between Romantic-period travel in its various forms, and the social and political contexts that emerged from it. It considers travel for educational and recreational purposes, to increase scientific and cultural knowledge, and to colonise new territories and acquire economic or administrative control of land abroad. While recognising the impact of travel on a wide variety of locations through recent postcolonial studies (that include China, South America, the Arctic, and Antarctic) the regions of Europe, Africa, North America, Australasia, and India are focused on here as the most represented areas in travel writing and the imaginative literature it inspired. The Romantic period was an important watershed in the history of empire, before more rigid structures of imperial policy were implemented in the later nineteenth century. This provided a discursive space in which discussion of British responsibilities abroad, as well as counter-imperial arguments, could come to the fore. Thus, the interesting intersections between Romantic formulations of the world and socio-political interventions in these global contexts can be understood through the writings of the period.