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Copyright of Signa is the property of Editorial UNED 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.)

Several short story writers have written texts in the form of a short play. It can be questioned whether such a text can legitimately be called a narrative. The dramatic character is dubious since they are obviously designed for reading rather than stage presentation. If they appear in short story collections or as parts of a novel, the narrative context also acts against their dramatic character. Zoltán Ambrus' books, Baron Berzsenyi and His Family and The Berzsenyi Girls' Twelve Fiancés, contain such texts. Several stage directions indicate an undramatic character. The paper highlights strategies that make the texts narratives rather than playlets. These include showing one moment of a plot from which readers can see a longer development, using one partner in the dialogue as an 'intradiegetic' narrator who tells a story, amplifying stage directions into narrative passages, and showing two or three distinct scenes, which a reader can interpret as parts of a bigger story. By using these tools, Ambrus' texts acquire a narrative character despite the form of a play. [ABSTRACT FROM AUTHOR]

The term Majhul denotes a classification within the study of hadith narrators, reflecting ambiguity regarding their reliability in transmitting prophetic traditions. This designation is commonly employed by hadith scholars to signify uncertainty about a narrator's character and trustworthiness. As a result, narrators categorized as Majhul are predominantly deemed dha'if (weak) by the majority of scholars, rendering the hadiths they transmit equally dha'if due to the inherent uncertainty surrounding their reliability. Extensive discussions on this classification are found across the corpus of 'Ulum al-Hadith (The Sciences of Hadith). Nevertheless, is there a consensus among scholars that narrations from Majhul narrators are categorically dha'if? Or do divergent scholarly perspectives exist concerning the acceptability of their narrations? If alternative views are present, what are the arguments underpinning the assertion that such narrations are not dha'if? This study endeavors to critically examine the status of Majhul narrators by analyzing the factors that lead to their classification as weak, the degree of their weakness, and the validity of their narrations through the application of a rigorous content analysis methodology. [ABSTRACT FROM AUTHOR]

Purpose: During the past years and after the holy defense, one of the biggest cultural events of the country that caused the transfer of experiences and retelling of the historical events and sacrifices of the warriors of Islam during the eight years of the holy defense was Rahian Noor. The presence of narrators in this event and conveying as much as possible the concepts and realities of war will increase the efficiency and productivity of the narrators and the satisfaction of the pilgrims, which requires the formulation and presentation of a comprehensive program and model to evaluate the performance. Therefore, the main goal of this research is. Design indicators are to evaluate the performance of narrators and provide a performance evaluation model to evaluate narrators.Methodology: The research is applied and mixed, which is designed in two qualitative and quantitative phases. In the first phase, with the research method of theme analysis and through theoretical foundations and interviews with experts familiar with narration in Rahian Noor camps, the performance indicators of narrators or basic themes were extracted. Based on the analysis of interviews with experts and basic themes, these themes were categorized, and each category is referred to as an organizing theme. In the second phase of the research, by using a questionnaire, opinions were sought from the specific field of Rahian Noor on the two issues of weighting the indicators extracted in the first phase and the performance status of the narrators. The analysis and review of the results of this questionnaire was done through Matrisipa until the current situation and the indicators and indicators of the organizations' priorities are determined. In order to evaluate the performance of the narrators, another questionnaire was prepared and set up for the purpose of evaluating the narrators by groups of pilgrims, caravans, memorial servants, and memorial officials. After designing the questions corresponding to each indicator, the questions related to the headquarters of Rahian Noor are presented to determine that each question will be suitable for the group of respondents. To achieve this, a series of brief questions were asked to each of the aspirant groups.Findings: The result of the classification of themes is attributed to the seventh result of the theme of organizers of job knowledge, management and organization, communication and moral skills, appearance, wise narration or rationality, quality and satisfaction. Also, three indicators of wise narration with 43%, quality with 32% and communication and moral skills with 13% and with a big difference from other organizing indicators, the first rank has been assigned the most importance. In addition, based on this response, four categories of questionnaires were prepared for different groups (pilgrims, caravan managers, memorial servants, and memorial officials) and finally, a model was presented to evaluate the narrators' performance step by step.Originality/Value: This research is conducted for the first time in the field of Rahian Noor camps, and considering the structural differences with other organizations, including the honorary nature of the narrators and their voluntary activities, it has an innovative and practical structure. Also, for the research to be more practical, providing a performance evaluation model for other people related to Rahian Noor camps and using other performance evaluation methods for goal management, behavioral rating evaluation method, sensitive event recording method, and psychological evaluation method. And the comparison of their results is suggested.

The voiceover text promotes a correct and creatively adequate method of harmonizing the synchronous segment, the overall drama, and the development of the plot lines of the film’s characters and on-screen events and, as a result, organically accurate perception of the screen work as a whole by the audience in the context of the author’s idea and super-task. Today’s on-screen media often has a dismissive, formal attitude towards voiceover narration, creative ways, techniques and methods of its reproduction as an important segment of the literary and dramatic basis of a screen work, the commentary of screen events and the creation of an emotional and psychological atmosphere for the perception of a television program or film by the audience. In the context of this study, we offer less and more successful examples of working with voice-over author’s and narrator’s texts in the works of Russian screenwriters and directors of film and television journalism that have been little studied by documentary film historians, film critics and cultural scientists.

This research address the term (Narrator) in in the structure of the narrative discourse" and primary role to direct the narrative in accordance with his vision. The narrator is the one who formulates the narrative text, organize the plot, introducing the characters, and description the places. The narrator is different from the real and implied author, and the narrator has multiple forms, many functions, and related in basic relationships with the other of the elements of narratology, and the research particularize in all of that. [ABSTRACT FROM AUTHOR]

Purpose: During the past years and after the holy defense, one of the biggest cultural events of the country that caused the transfer of experiences and retelling of the historical events and sacrifices of the warriors of Islam during the eight years of the holy defense was Rahian Noor. The presence of narrators in this event and conveying as much as possible the concepts and realities of war will increase the efficiency and productivity of the narrators and the satisfaction of the pilgrims, which requires the formulation and presentation of a comprehensive program and model to evaluate the performance. Therefore, the main goal of this research is. Design indicators are to evaluate the performance of narrators and provide a performance evaluation model to evaluate narrators. Methodology: The research is applied and mixed, which is designed in two qualitative and quantitative phases. In the first phase, with the research method of theme analysis and through theoretical foundations and interviews with experts familiar with narration in Rahian Noor camps, the performance indicators of narrators or basic themes were extracted. Based on the analysis of interviews with experts and basic themes, these themes were categorized, and each category is referred to as an organizing theme. In the second phase of the research, by using a questionnaire, opinions were sought from the specific field of Rahian Noor on the two issues of weighting the indicators extracted in the first phase and the performance status of the narrators. The analysis and review of the results of this questionnaire was done through Matrisipa until the current situation and the indicators and indicators of the organizations' priorities are determined. In order to evaluate the performance of the narrators, another questionnaire was prepared and set up for the purpose of evaluating the narrators by groups of pilgrims, caravans, memorial servants, and memorial officials. After designing the questions corresponding to each indicator, the questions related to the headquarters of Rahian Noor are presented to determine that each question will be suitable for the group of respondents. To achieve this, a series of brief questions were asked to each of the aspirant groups. Findings: The result of the classification of themes is attributed to the seventh result of the theme of organizers of job knowledge, management and organization, communication and moral skills, appearance, wise narration or rationality, quality and satisfaction. Also, three indicators of wise narration with 43%, quality with 32% and communication and moral skills with 13% and with a big difference from other organizing indicators, the first rank has been assigned the most importance. In addition, based on this response, four categories of questionnaires were prepared for different groups (pilgrims, caravan managers, memorial servants, and memorial officials) and finally, a model was presented to evaluate the narrators' performance step by step. Originality/Value: This research is conducted for the first time in the field of Rahian Noor camps, and considering the structural differences with other organizations, including the honorary nature of the narrators and their voluntary activities, it has an innovative and practical structure. Also, for the research to be more practical, providing a performance evaluation model for other people related to Rahian Noor camps and using other performance evaluation methods for goal management, behavioral rating evaluation method, sensitive event recording method, and psychological evaluation method. And the comparison of their results is suggested. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Responsive technology and digital learning influence how Generation Alpha (born after 2010) communicates and interacts with media (parfitt 2019, joones 2018, li 2021). This study analyses Czech radio plays for children and adolescents, focusing on narrative strategies and motifs. Using the theory of fictional worlds (doležel 2003) and the audionarratology (mildorf 2016, huwiler 2014), the authors examine thirteen radio titles from 2020 to 2022. They explore how current technologies and implicit communication models are reflected in categories such as narrator, spacetime, and narrative techniques in contemporary audio production. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi 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.)

Procopius of Caesarea traveled with the household of the general Belisarius for many years. If his Secret History is any indication, the historian gained a rich acquaintance with Belisarius’s formidable wife, Antonina. It is possible that the negative treatment of Antonina in the Secret History reflects a rivalry between her and Procopius. This competition becomes most clear when examining the moments in which Procopius becomes a participant in his own narrative of the History of the Wars, and especially in the attempt to resupply Rome (under siege by the Goths) from Naples in 537 AD. Although the historian portrays this moment, when Belisarius entrusted him with fetching reinforcements and supplies for the beleaguered Roman army, as his time to shine, Procopius was upstaged by Antonina. If there was a competition for influence with Belisarius, it seems to have been one that Antonina won handily. It is worth therefore examining the outrageous critiques of Antonina in the Secret History through the lens of a disappointed or even revengeful Procopius.

Abstract When we engage with fictions, we are, in effect, pretending to deal with reports of actual events. After all, numerous fictional works are explicitly designed to facilitate this kind of pretense. This was the prevailing understanding of fiction in both analytic philosophy and classical narratology for decades. However, there is a significant problem with this view: many fictional narratives routinely portray scenarios that could not possibly be the subject of anyone’s reporting. Currie’s 'mindless fictions' are one such example. This issue can be referred to as the problem of unreportability. The standard solution to this challenge has been to argue that fictions are not pretend reports, but rather direct authorial stipulations to imagine specific scenarios. This paper contends, however, that such an explanation fails to provide a satisfactory account of fiction. By drawing on Walton’s notion of ‘silly questions’, it instead argues for a revised version of the report model-one that doesn’t necessarily depend on ubiquitous fictional reporters.

With the growing concern for revisiting the cultural roots in contemporary African literature, this article explores the concept of chi in the Igbo belief system as manifested in literary sources. Specifi c emphasis is put on the Chi character in Chigozie Obioma’s novel An orchestra of minorities. The article focuses on exploring Chi’s role as narrator, guiding spirit, and orator who transcends all spatial-temporal boundaries. Being a representative of an individual human being in the spirit realm, he is an active companion and guide of his host. The study aims to showcase the metaphysics of being and existence in the Igbo world through the journey of reincarnating spirit chi who transcends the conventional narrative techniques and presents his host’s testimony in the eternal land.

The article examines the memoir-autobiographical prose of D. Ovsyaniko-Kulikovskiy as an original example of nonfiction literature. The relevance of the work is due to the active study of the theory and history of memoir-biographical prose in domestic and foreign literary studies, as well as the intensive development of contemporary autobiography. The purpose of the study is to identify the specifics of the autobiographical narrative, the peculiarities of the author's self-identification and the construction of the narrator's life story. It is shown that an autobiographical narrative is constructed as a story for others and a story for oneself. Autobiographical memory contains elements of varying degrees of generalization. While maintaining psychophysical identity, the distance between the autocharacter and the narrator is constantly emphasized. As the narrative develops, the narrator's features of a scientist become more and more pronounced, and the narrative shows signs of scientific discourse. "Memoirs" reveals such components of a scientific narrative as description, explanation, analogy, analysis, argumentation, categorization, classification, logical proof, and intertextuality. The supertask performed by the narrator is to characterize the history of his personal and scientific formation as a path to the acquisition of scientific truths and the methodological, basic, and ideological foundations of scientific activity. The narrative also has elements of artistry: complication of the narrative structure, violation of linearity, fictionalization of biographical stories, expressiveness and integrity of images, attention to detail, etc. “Memoirs” by D. Ovsyaniko-Kulikovskiy are a memoir-autobiographical conceptualized narrative subordinated to the author's targeted message. This story combines the features of documentary, scientific and fictional narrative and reveals the author's worldview and scientific credo. At the same time, the inner (perhaps subconscious) core of “Memoirs” actually becomes the process of autocreation of an ideal scientist, which becomes a source of inner satisfaction.

Radio drama presents unique challenges for narrative construction, particularly with regard to the incorporation of a narrator. The illusion of immediacy in radio drama often makes it difficult to identify a narrator, disrupting the traditional narrative structure found in novels. This article explores two American radio adaptations of H. G. Wells's The Time Machine, with a particular focus on the use of narrative techniques that move beyond the possibilities of the original novel's textual medium. This comparison emphasizes the unique narrative structures present in the radio adaptations and deepens our understanding of the distinct affordances as well as limitations of the audio medium in realizing Wells's visionary tale. The analysis considers the concepts of narrator, focalizer and mediator and their application in radio drama. By exploring the distinctive characteristics of auditory signification and multimodal strategies utilized in audio drama, a deeper comprehension of narrative theory can be achieved. [ABSTRACT FROM AUTHOR]

This study attempts a narratological analysis of the elements of voice and mood of two novels by Kazuo Ishiguro: The Remains of the Day (1989). The theoretical reference of the study will be based on the ideas of narratology with special reference to Gerard Genette Narrative Theory. Narratology is one of the main branches of structuralism. The goal of this field is to understand, analyze, and evaluate narratives. The analysis is then further going into the examination of the function of the narrator in the novels. At the end, findings and recommendations for further research are provided. [ABSTRACT FROM AUTHOR]

The Tābiʿī period has an important role in the formation of the science of ḥadīth. The main purpose of this thesis is to identify the names of the female ḥadīth narrators of the Tābiʿī period and bring their narrations together, thus revealing their contributions to the science of ḥadīth by making these names known between the lines. In this context, the narrations of the female narrators of the tābiʿī period in the Kitāb al-Sitta were identified and brought together, their subject distributions were determined, their repetitions were identified, and the opportunities of women to access and transmit the narrations were examined. The thesis consists of an introduction, three chapters and a conclusion. In the introduction, the role of women in ḥadīth narration is emphasized. Through the literature review, 107 names of tābiʿī women narrators and 609 narrations were identified. The large number of numbers obtained necessitated grouping the data. In the first section, there are 6 tābiī female narrators with more than 30 narrations, in the second section, there are 27 tābiʿī female narrators with 3 to 30 narrations, and in the third section, there are 74 tābiʿī female narrators with less than three narrations. [ABSTRACT FROM AUTHOR]

This text is a review of the monograph by Slavist Agnieszka Janiec-Nyitrai, in which the researcher analyses the essays, columns and novels of the well-known Polish writer Andrzej Stasiuk. The monograph presented here is the result of many years of research by the author, who interprets successive works in an interesting way, far from scientific hermetism and analytical cliché, relating them not only to specific literary theories, but above all to important issues of contemporary culture. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The third-person omniscient narrator of fiction texts for children holds the ability to access characters' thoughts, fly where they will within the story, and interact with time and tense. Philip Pullman characterises this kind of narrator as a multiscient sprite, not a human seeing and telling, but something else which possesses unhuman-like qualities. This paper uses an analysis of the narrator's voice, character, and choices to access two other characters created by the story being told—the narratee and the implied reader, both of whom may well be thought of as child characters produced by the text. A profile of these two products is then presented. Through a close textual analysis, which draws out untagged parts of Northern Light's narrator's speech, an examination of the kinds of characters the narratee, and implied reader could be seen to be is gathered. The narrator's ability to intensely empathise with characters is passed onto the narratee and also normalised by aspects of the story, including the alethiometer, a device from the created world of the story which is imbued with strikingly similar qualities to the narrator. Lyra, the book's protagonist, and the instrument interact with each other in a manner akin to the narrator and narratee, both having an agency which the implied reader could be bestowed with from reading the text. [ABSTRACT FROM AUTHOR]

The third-person omniscient narrator of fiction texts for children holds the ability to access characters’ thoughts, fly where they will within the story, and interact with time and tense. Philip Pullman characterises this kind of narrator as a multiscient sprite, not a human seeing and telling, but something else which possesses unhuman-like qualities. This paper uses an analysis of the narrator’s voice, character, and choices to access two other characters created by the story being told—the narratee and the implied reader, both of whom may well be thought of as child characters produced by the text. A profile of these two products is then presented. Through a close textual analysis, which draws out untagged parts of Northern Light’s narrator’s speech, an examination of the kinds of characters the narratee, and implied reader could be seen to be is gathered. The narrator’s ability to intensely empathise with characters is passed onto the narratee and also normalised by aspects of the story, including the alethiometer, a device from the created world of the story which is imbued with strikingly similar qualities to the narrator. Lyra, the book’s protagonist, and the instrument interact with each other in a manner akin to the narrator and narratee, both having an agency which the implied reader could be bestowed with from reading the text.

There are not many studies about river gods in Ovid’s Métamorphoses, and none are comprehensive. As shape-shifting deities, river gods perfectly fit for the poem’s subject. In Métamorphoses 8 and 9, Achelous plays the role of narrator. As a consequence, we might guess that Ovid gives him a reflexive function. Through this figure, he attempts to stand out from Virgil in order to show that his poetry is built on variation and self-citation, so that the poem seems inexhaustible.

From the vantagepoint of a feminist/queer/cisgender narratologist, “Trans-forming Narratology” asks which aspects of narrative practice might be particularly salient to developing a fruitful trans narratology while also calling our attention to elements of narrative that conventional (cis)narratology has undervalued or ignored. Keeping in mind matters that might be particularly relevant to trans narratives, this speculative essay explores aspects of voice, embodiment, character space, plotting, and closure in a set of recent American and British novels. It considers ways in which trans narratives can exploit the gender freedom of the first-person English pronoun or, conversely, signal temporally dual identities through heterodiegetic naming practices. It addresses tensions between a character’s proclaimed gender and their assigned sex and the differing implications of texts with narratees who are also textual actors and those whose narratees serve as external confidantes. Through brief forays into multiple aspects of narrative form, this essay argues for a narratology that can show the rich and varied capacities of trans writings past and present, with the hope that attention to trans narratives will both deepen our understanding of trans literature and advance the larger project of a comprehensive, situated narratology. [ABSTRACT FROM AUTHOR]

Copyright of Al-Zaytoonah University of Jordan Journal for Human & Social Studies is the property of Al-Zaytoonah University of Jordan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The sciences of hadith are diverse, and each science has its importance. Some of them are specific to the chains of transmission, some are related to the text in particular, some include the chain of transmission and the text, some include both, and a large portion of them relates to the narrator. Among the sciences related to narrators are the sciences that reveal the person of the narrator, such as his name, surname, nickname, and whether he is accepted or not, etc. Although the hadith scholars paid attention to these sciences, this does not mean that they are neglected by the jurists, as they are the basic building block upon which the science of analysis and modification is based, which is the building block for judging the authenticity and weakness of a hadith. Through this research, we will clarify the work of one of the imams in these sciences through his books that have reached us, and he is Imam Muhammad bin Al-Hasan Al-Shaybani, the imam, the jurist, the diligent scholar, the companion of the greatest Imam Abu Hanifa. The research relied on the inductive and analytical approach. Although this imam is famous for his jurisprudence, we will find that his hadith skill is no less than his jurisprudential skill. Here we will search for some of the sciences related to the person of the narrator and the situation that appeared to us in the presence of this passionate Imam, and this is represented by an introduction and two sections, the first of which: his craftsmanship in the sciences that know the person of the narrator, and the second: his craftsmanship in the sciences that know the situation of the narrator, and then the conclusion. [ABSTRACT FROM AUTHOR]

Copyright of Arabic Language & Literature (1735-9767) is the property of University of Tehran 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 Kufa Studies Center Journal is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The diversity of Islamic sects, beliefs, and rulings has had various effects on the scientific and practical lives of Muslims. One of these effects is the determination of the narrator’s attributes in Hadith, which emphasizes that the narrator must adhere to the sect from which he or she received the Hadith and should not be an innovator since every sect considers other sects as innovators. But what is the concept of innovation? And is it acceptable to narrate from an innovator among all sects? What are the reasons for those who agree or disagree with narrating from an innovator? In this article, using a descriptive-analytical method and library research, we examine this principle in terms of narrator’s attributes and Hadith narration and answer these questions along with discussing some related topics such as mentioning some innovator narrators in Shia and Sunni ways. As a result, it has been determined that despite some opponents’ refusal to narrate from innovators, most Islamic sects absolutely or conditionally quote them since without their Hadiths, many sects’ Hadith heritage would significantly decrease. Furthermore, there are differences in the meaning and examples of innovation to such an extent that it is impossible to determine its precise meaning and example unanimously. Therefore, it cannot be considered a real criticism for a narrator regardless of his or her belief or action; rather, his or her truthfulness or falsehood should be considered important. [ABSTRACT FROM AUTHOR]

This overview essay on the implementation of narratology on reading and interpreting lyric poetry presents the main principles of the so-called lyricology, which is based on the thesis that narrative structures, such as the presence of agency, mediation and sequencing (the ordering of plot sequences), can also be observed in lyric poetry. This line of research has been followed by scholars at German universities, but has also found its way into the English-speaking academic world. The paper defines narratological concepts which are readily applicable to lyric poetry, such as focalisation, event, narrative reliability, and hierarchical stratification of the narrator (biographical author - abstract/implicit author - narrator/speaker - protagonist/character in the plot). The essay presents narratological analysis of lyric poetry as an innovative approach to the reading of lyric poetry, but also highlights the potential pitfalls of this approach and outlines appropriateness of its use. [ABSTRACT FROM AUTHOR]

The use of voice-over narration was frowned upon over the course of the 20th century, and it is only after the 1980s that it was accepted and became more prevalent in the film and television industry (Kozloff 12-13). The following decade was marked by more experimentation with this narrative technique leading to the creation of diverse narrator profiles. This is illustrated in a miscellany of TV series, such as Desperate Housewives and Jane the Virgin, wherein the voice-over narrator plays an important narratological function. As these two series showcase, voice-over narrators can be either homodiegetic or heterodiegetic. Accordingly, the former exists in the storyworld as a character, while the latter does not. This paper hypothesizes that under certain circumstances, heterodiegetic voice-over narrators can become characters despite their incorporeality on the screen, thanks to the power of the voice.

The article presents a comparative analysis of two stories written by Anatole France close in time and dealing with similar issues, namely “Le Manuscrit d’un médecin de village” and “L’OEuf rouge.” The purpose of the study is to clarify the narrator’s position in the texts where the voice is delegated to a character, and the truth eludes the reader due to numerous omissions and thus to understand the reason why France deploys obscured writing. The stories, although included in different cycles, share a number images, motifs and narrative strategies. Both short stories address the topic of heredity, which makes researchers observe in them the influence of naturalism on France’s artistic method. Nevertheless, the construction of the texts each time calls into question the attitude of both the narrator and the author to the naturalistic concept of personality, the aesthetics of naturalism and positivist philosophy in general, introduces the possibility of an alternative interpretation of events and images. A comparison of the two pieces enables us to conclude that France has an ambiguous, ironic view of ideas popular among his contemporaries and that the writer prefers an artistic and cultural text over positivist analyticity.

The subject matter of this paper concerns the early phase of Vasily Grossman’s literary career in the mid1930s. Prior to this period, the author proved his ability to evaluate the mechanisms of censorship and developed his understanding of what was publishable and what could be sanctioned through the publication process of his first novel (Bit Yunan, Fel’dman 2019). The research material selected for this paper is the lesserknown short story Zhizn’ Il’i Stepanovicha [The life of Il’ya Stepanovich], published in 1935, and the aim is to provide a close reading and an interpretation key to this text. In order to expose the hidden ambiguity of the short story, the chosen research perspective includes a focus on the function of the protagonist as an entity that does not legitimise the socialist myth; a narratological approach on the use of proper names, on “perspective” and the role of the narrator with regard to the axiological structure of the text.

In the milieu of interwar Romanian modernism, Șerban Cioculescu showed a particular interest in the making of literary biographies, which in the post-war decades resulted in a self-styled version of biographical criticism. This article follows the avatars of a heated debate developed in 1970-‘80s around the life and works of writer Mateiu I. Caragiale, involving, on the one hand, Alexandru George, Alexandru Paleologu, and N. Steinhardt, and on the other, Șerban Cioculescu and Eugen Simion. While the former group claims a textual hermeneutics devoid of biographical speculation, the latter supports the revival of biography-based analysis. Eugen Simion finds in Șerban Cioculescu’s approach a valuable ally, while preparing his book Întoarcerea autorului (The Return of the Author, 1981), to defy the mainstream anti-biographical orientation of Romanian criticism, and re[1]introduce, in the spirit of French theory (like Jean Starobinski or Serge Doubrovsky’s), the figure of the author in text interpretation.

Muhammad bin Umar al-Waāqidiī is one of the prominent biographers of the prophet Muhammad (peace and blessings be upon him). The narrations reported by him in his book of Maghaāzī and other sources such as al- tţabaqaāt of ibn Sa'd and al-tţabarī have been criticized and al- Waāqidiī have been labled as ghair thiqah (unauthentic) and Daiīf for various reasons. But the fact is different. In fact, the majority of those who raised objections to al-Waāqidiţ are also convinced that he is a pioneer of Maghaāziţ or Imam al Maghaāziţ. Also all his critics accept him as Hujjat in Maghaāziţ. Therefore, weighing the objections against al-Waāqidiţ in the balance of al-Jarh wa al- Ta'dil is necessary. This paper seeks to critically evaluate the allegations raised against al-Waāqidiţ as "Raāviţ" (narrator) in the light of Asma-al-Rijaāl books and the sources of his biography. [ABSTRACT FROM AUTHOR]

This paper aims to reading on the representation of the migrant-child subject, space and gender violence in three Peruvian stories: "El ñiño de Junto al Cielo" (1954) by Enrique Congrains Martín, "Montacerdos" (1981) by Cronwell Jara Jiménez, and "Brisas III" (2015) by Gerónimo Chuquicaña Saldaña. For this, a comparative, descriptive-interpretive study was carried out on the selected stories. Likewise, the categories migrant subject and heterogeneity proposed by Antonio Cornejo Polar, the types of narrator and focalization according to Mieke Bal and Gerard Genette, and the studies on gender by Pierre Bourdieu, Judith Butler and Norma Fuller were taken place. The analysis and interpretation will demonstrate that factors such as spatial context, marginalization, and gender violence significantly influence the migrant status and identity of the child protagonists in these narratives. These influences render them susceptible to violence, vulnerability, and insecurity. [ABSTRACT FROM AUTHOR]

Copyright of Clotho is the property of University of Ljubljana, Faculty of the Arts 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 Przegląd Pedagogiczny is the property of Kazimierza Wielki University in Bydgoszcz 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.)

Procopius of Caesarea traveled with the household of the general Belisarius for many years. If his Secret History is any indication, the historian gained a rich acquaintance with Belisarius's formidable wife, Antonina. It is possible that the negative treatment of Antonina in the Secret History reflects a rivalry between her and Procopius. This competition becomes most clear when examining the moments in which Procopius becomes a participant in his own narrative of the History of the Wars, and especially in the attempt to resupply Rome (under siege by the Goths) from Naples in 537 AD. Although the historian portrays this moment, when Belisarius entrusted him with fetching reinforcements and supplies for the beleaguered Roman army, as his time to shine, Procopius was upstaged by Antonina. If there was a competition for influence with Belisarius, it seems to have been one that Antonina won handily. It is worth therefore examining the outrageous critiques of Antonina in the Secret History through the lens of a disappointed or even revengeful Procopius. [ABSTRACT FROM AUTHOR]

Copyright of Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador 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.)

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AbstractThe Court of kings and dynasties were manifestation of ceremonial customs and occasions which pertain to the roots of literature and history of their nations. Consequently, culture and civilization of our antecedents influenced creation of their descendants' culture in sequential and continual way. Narration and storytelling, known as a notable position at the Court of Emperors and Kings and as constituents of literal customs of the court, have revived and rejuvenated the ancient tradition of oral literature. Regarding such a position, it could be said that some of the authors believe that commencement of the first period of storytelling in Iran returns to The Achaemenid Empire and Kianian Dynasty, but some others believe that it comes from The Gusans of the Parthian Empire. In following periods, since Samanid Dynasty until Ghaznavid Empire, the role of narration and storytelling was played by Zoroastrian Clerics and the mates – servants and maids – as well as reading epics. Servants or maids were to learn and acquire an agglomeration of literal issues and skills such as poems, reciting, eloquence and performance.During The Ilkhanate Era (the Mughals Dynasty), Iranian stories became more religious due to bitterness of Mughal Attacks. At the Court of Safavid Dynasty, narration and storytelling reach its peak of prosperity and then the Court of Qajar gave this position a new lease of live, titled "Reciter". This current research has tried to investigate and study this position and its evolutions their ceremonial customs at the court of Iranian Kings.

José Saramago has repeatedly positioned himself against the use of the concept of narrator, often with categorical and provocative statements, seeking to take part in a theoretical-literary discussion that transcended his time andplace. By reflecting on the function of the literary quarrelin the construction and promotion of the writer-polemist, the purpose of this paper isto revive and deepen the debateproposed by the Portuguese Nobel laureate. Ouraim is to retrace his positions and a part of the history of the concept of the narrator, in orderto examine how this category is constructed in some of Saramago’s novels.

Background. The Even language is among the endangered languages. The situation requires comprehensive research, recording and documentation of the Even language and culture. The research of the synonymic relations in the Even language will show the lexical-semantic development of the Even word, the stylistic features of the language. Purpose. The article is devoted to the study of synonyms in the Even folk texts. Materials and methods. Epic tales of the Evens of Okhotsk are used as a source of research. The main method of research is the descriptive one along with semantic analysis and elicitation methods. Results. The collected lexical material, distributed according to the parts of speech, reveals a numerical superiority of verbal synonyms in comparison with other groups of words. In the texts of the narrator N.G Mokrousov. synonyms serve as expressive means, have expressive load, are used in the description of the various phenomena, properties, actions, are applied with a view of preservation of a rhythm of singing. Frequent synonyms are recorded in the work. Practical implications. The results of the work can be applied in studies on the language and folklore of the Tungus-Manchur peoples.

This article offers a reflection on the notion of the narrator in digital literature. It examines the epistemological and narratological issues related to the impact of digital devices on the narrative process. Additionally, it explores the interactive nature of storytelling, thereby challenging the traditional concept of the narrator, drawing from the works of Serge Bouchardeau and the analysis of a corpus of interactive narratives.

Very often, focalization in the study of narratology is neglected in its use in literary works. The point of view in a short story or novel is one of the basics for understanding literary works. Based on this, focalization becomes one of the most important elements in the intrinsic structure of literary works. This study aims to describe the forms of internal and external focalization in the novel Ranah 3 Warna by Ahmad Fuadi. The method used is narrative method and structural approach. The theory used as a knife of analysis is Gerard Genette's theory of narratology. Words, phrases, sentences in the novel Ranah 3 Warna related to relevant theories will be the focus of the study. Data was collected by reading and note technique. The results of this study found three internal focalization data from the novel Ranah 3 Warna which represent other data. Alif describes several figures, namely Rusdi, Wira, and Agam. While on external focalization, Alif received information from several figures, namely Mr. Etek Gindo, Ustad Salman and Asti, his classmate at FISIP Abstrak Sering sekali fokalisasi dalam kajian naratologi diabaikan penggunaannya dalam karya sastra. Sudut pandang dalam sebuah cerpen atau novel menjadi salah satu dasar tercapainya pemahaman karya sastra. Berdasarkan hal tersebut, fokalisasi menjadi salah satu elemen terpenting dalam struktur intrinsik karya sastra. Penelitian ini bertujuan untuk mendiskripsikan bentuk fokalisasi internal dan fokalisasi eksternal dalam novel Ranah 3 Warna karya Ahmad Fuadi. Metode yang digunakan ialah metode naratif dan pendekatan struktural. Teori yang dipakai sebagai pisau analisis adalah teori naratologi Gerard Genette. Kata, frasa, kalimat pada novel Ranah 3 Warna yang berkaitan dengan teori yang relevan akan menjadi fokus kajian. Data dikumpulkan dengan teknik baca dan catat. Hasil penelitian ini ditemukan tiga data fokalisasi internal dari novel Ranah 3 Warna yang mewakili data-data lainnya. Alif mendeskripsikan beberapa tokoh yaitu Rusdi, Wira, dan Agam. Sedangkan pada fokalisasi eksternal, Alif mendapatkan informasi dari beberapa tokoh yaitu Pak Etek Gindo, Ustad Salman dan Asti kakak kelasnya di FISIP.

One of the best representatives of Latin American literature, Clarice Lispector has always fascinated her readers. Her novels bring into question some major aesthetic and ideological issues, sometimes under the mask of elaborated textual games implying innovative narrative strategies and a new way of understanding fiction. The Hour of the Star (A hora da estrela, 1977) addresses the problem of identity and storytelling, as well as the complex relationships established among author, narrator, character and reader. The violence which the novel's protagonist has to face and endure is also an expression of the force of literature. Therefore, the heroine's death stands for the symbolic birth of fiction, her personal life being permanently mirrored by the metaphorical level of this extraordinary text. The novel progressively turns into an intricate and symbolic journey to the self, Lispector analysing the quest for personal (and artistic) identity and its hidden meanings. [Article copies available for a fee from The Transformative Studies Institute. [ABSTRACT FROM AUTHOR]