Great Writers Research Articles

Thank you, Father Xavier Ha, you have Celebrated the Nuptial Mass for us, Hyeohi and Augustin! (Tcheonzamun 545th-560th)

French missionary Dallet (1874) introduced ‘The thousand character essay’ in his book, and he wrote that ‘The thousand character essay was utilized as the textbook for the Chinese children. It was for those Chinese children in order to teach the Chinese characters. `It is called as ‘Tcheonzamun’ in Korea. Park et al., (2021a; 2021b) considered that 16 Chinese characters in Tcheonzamun compose a poem. If this masterpiece (Tcheonzamun) was created by Chinese people, it is strange that Tcheonzamun (The thousand character essay) poem is translated on Korean grammar (Park et al., 2021a). This translation suggested that Tcheonzamun was created by the people who used the Korean language as their mother tongue. The present researcher used the somewhat old one of ‘the thousand character essay (Tcheonzamun)’ book (Han, 1583). The range of this poem is (Tcheonzamun 545th-560th). And the translation is carried out through the meaning of Chinese character of Tcheonzamun (Park et al., 2021a). The title of this article is ‘Thank you, Father Xavier Ha, you have celebrated the nuptial Mass for us, Hyeohi and Augustin! (Tcheonzamun 545th-560th)’. <Number in Tcheonzamun Chinese character (Pronunciation in Korean). The meaning of this line of the poem>. 545-548 桓(Hwan) 公(Gong) 匡(Kwang) 合(Hap). When the people (合) everywhere see me, they might accept that I am right (匡). And everyone (公) might admit that I have the strong power (桓). If these favorable conditions are satisfied, all is well? But the great writer of Tcheonzamun says to us “It is not such a thing.” And then, what shall we do? 549-552 濟(Ze) 弱(Yag) 扶(Bu) 傾(Gyeong). When a person is in a bad condition (傾), you must give your hands to the person in order to help him or her (扶). And for a person who has the danger of death (弱), you must help the person in order to recover himself or herself from such a serious condition (濟). 553-556 綺(Ki) 回(Hoe) 漢(Han) 惠(Hye). You have received a lot of (漢) aids and love (惠) from other people, how can you return (回) the benediction to others in such a short time (綺) of your life? 557-560 說(Seol) 感(Gam) 武(Mu) 丁(Zeong). I (丁) am young until now, and I have power for the work. I will express my thanks (感) to the persons who have done favorable things for me. My characteristics are not soft for my family (武). If my characteristics can be changed with the grace of My Lord Jesus, it is truly obtained the good thing (說)!

THE IDEOLOGY OF HUMAN THOROUGHNESS AND ETERNAL LOVE IN THE BALLAD “PARVANA” BY HOVHANNES HOVHANNES TUMANYAN

Humanity has strived for thoroughness within all his conscious life,at the same time looking for it around,has tried to feel the delight of eternal love in the surrounding world.Both love and thoroughness in a human’s soul and around him create harmony.In the 21st century a very quickly changing human being,anyhow,also strives for this harmony.The ballad “Parvana” written by Hovhannes Tumanyan is a creation having all these ideas in its base,what is an unequalled value in the rich treasury of our culture.The ballad language,structure, imaging-expressive different tools of the ballad emphasize the unique typical style of all Armenians writer Hovhannes Tumanyan. In the "Parvana" ballad, the great writer also tried to give the etymology of the appearance of the butterflies circling around the Parvana lake, the light. He weaved a short story, expressing his thoughts and ideas. The gem of Armenian literature, "Parvana", was highly appreciated by contemporaries and has its own place in Armenian literature.

Реальность как сторона воображаемого в творчестве Ф.М. Достоевского

In many of his works, the great Russian writer and thinker F.M. Dostoevsky depicted the boundary between sleep and reality, reality and hallucination as flexible, which was noted by many researchers of his work. However, most attempts to comprehend this led to the idea that Dostoevsky’s lack of such a boundary was caused by the madness that struck his characters (K.V. Mochulsky, D.R. Khapaeva, I.I. Evlampiev). With this interpretation of the problem, the idea that reality exists in itself is accepted as a starting premise, and a healthy person sees it as it is, and a mad person sees it as it appears in their altered consciousness. Indeed, in this case, there is a gap in the thesis bequeathed to us by Parmenides about the identity of being and thinking about it. Thus, we are talking about an ontological interpretation of the problem. According to N.A. Berdyaev, Dostoevsky was the most important anthropologist ever before and after him. And F.M. Dostoevsky himself wrote that he was ready to spend his whole life dealing with what a person is, because he wanted to be one. This means that the problems posed in his works need an anthropological interpretation, and in this article philosophical and anthropological analysis is used as the main research method. If we approach this problem from a philosophical and anthropological point of view and raise the question of what reality is for a person, then we should conclude that a person does not know what reality itself is if it is not preceded by a sense of reality for him. Accordingly, we can assert that the plasticity of the boundary between reality and hallucination, dream and reality is not caused by human disease. It is not given to him at all to fi nd out what reality looks like in itself, for a person it is a side of the imaginary. Thus, we understand that a person does not live in the world, but in a picture of the world, and no reality in itself exists for them.

FRANZ WERFEL AS A CULTURAL CRITIC. INDIVIDUALISM, COLLECTIVISM AND THE MORAL-AESTHETIC TASK OF A POET

This article is dedicated to the 90th anniversary of the heroic novel The Forty Days of Musa Dagh created by great Austrian writer and humanist Franz Werfel. With this novel Franz Werfel created a literary monument to the Armenian people. Werfel’s inspiration from his journey to Palestine and his encounter with Armenian orphans in Damascus are well known. Less known are his cultural-critical-philosophical essays that Werfel gave as lectures in the 1930s, framing his work on The Forty Days of Musa Dagh. These texts are densely formulated, often without references or plain argumentation. But they hold insights into Werfel’s moral demands on a poet, broaching that issue in the eras of communism, fascism, and genocide. This paper creates a moral-aesthetic profile that traces Werfel’s socially critical remarks with his view of the task of a poet and contrasts them with another contemporary view of a poet, that of Rainer Maria Rilke.

Did Joseph Conrad have juvenile myoclonic epilepsy?

Joseph Conrad's epilepsy is well documented but has received little attention as he had convulsive seizures only in childhood and adolescence. The type of epilepsy has never been discussed. His biography reveals that his condition was decidedly neuropsychiatric with depression, a suicidal attempt, and prominent signs of frontal lobe dysfunction, as is seen typically in juvenile myoclonic epilepsy. This diagnosis is supported by a congruent family history and probable lifelong myoclonic seizures including reflex myocloni that were misunderstood as nervosity. It is impressive to see how he disciplined himself to become a great writer against the odds of neuropsychological impairment.

Dumitru Solomon și teatrul de idei (I)

In the early years of communism, Romanian drama encountered major difficulties due to censorship and political control. Great writers, such as Camil Petrescu and Victor Eftimiu, produced mediocre plays, aligned with socialist realism. Likewise, Lucia Demetrius and Aurel Baranga wrote pieces in a socialist style, but rarely ignored official ideology. Part of a select few, Teodor Mazilu, with Fools under the moonlight, drew attention to the abuses of the totalitarian system, in an aestheticized, masked manner. In 1965, Nicolae Ceaușescu imposed a directive for realistic and optimistic art. In the 1970s and 1980s, censorship intensified, culminating in the scandal of the staging of Gogol’s play The Inspector General, directed by Lucian Pintilie, at the “Lucia Sturdza Bulandra” Theater, which was quickly banned after only three performances. In this context, Dumitru Solomon’s dramaturgy focused on dialectics and selfknowledge. His theater, characterized by polemical dialogue and the effects of parody, sought to confront clichés and incite self-reflection. His plays emphasize how dramas transform actions into history and people into characters, reflecting Brecht’s theory of social transformability. The difference between historicism (related to Marxism and the relativity of truths) and historicity (with a focus on a continuous present) is emphasized. In general, Dumitru Solomon believed in uncompromising theater and in performances that do not distort the original message of the dramatic author. In his opinion, it is necessary to balance the comic and dramatic elements, by involving the audience in an active dialogue. At the same time, Dumitru Solomon considered metaphor as essential in theater, through which the relationship between reality and the abstract is explored. The author also insisted on the moral dimension of stage art, stating that theater must interpret reality, not imitate it. In this way, a theater of ideas and debate was promoted, essential for the development of the consciousness of the spectators. With the help of the metaphor, which connects the dream state with reality, utopian ideals are explored, but also the truth about people, with the aim of maintaining a balance between the self and the world.

Frenzy in the age of reason: How the great prose writers of the 19th century used the word szał and morphologically related lexemes

The text employs statistical and semantic analysis to study the use of selected words related to the mental sphere. The analysis focuses on words representing the derivational family of the noun szał ‘frenzy, madness’ in the works of three authors from the second half of the 19th century: Eliza Orzeszkowa, Henryk Sienkiewicz, and Bolesław Prus. For each of the authors, four novels were selected, with word frequencies and meanings closely related to the themes of the texts. Only in two of them do the words in question allude to mental disorders, while in the others they refer, among other things, to love, fighting, and playing, often with positive connotations. Their semantics is fuzzier than today; the authors of that time apparently tended to perceive human behaviour and psyche in terms of a certain continuum.

Liquidation of the Dostoevskys’ Book Business

A. G. Dostoevskaya planned to publish her husband’s works until the end of her life and hoped to transfer the book business to her children. This is evidenced by the entries in her testamentary notebook of 19020–1911, which contains detailed instructions on publishing issues for the heirs. In 19040–1906, on the 25th anniversary of her husband’s death, Anna Grigoryevna printed the sixth (jubilee) and seventh (cheaper) editions of the Complete works of Dostoevsky. However, the release of these books, the pinnacle in her publishing practice, coincided with tragic events in Russian history — the Russo-Japanese War and the First Russian Revolution, as a result of which A. G. Dostoevskaya had to end her 38-year publishing career. Based on unpublished archival materials of the publisher (notebooks, notebooks and correspondence), the article analyzes a set of reasons that contributed to this decision. At the beginning of the 20th century, A. G. Dostoevskaya and the writer’s children found themselves deeply in debt for a number of reasons: due to their lack of working capital after a deal with the publisher of the Niva magazine A. F. Marx in 18940–1896, the rise in price of paper and printing works, a change in reader interest from collections of works to political pamphlet publications and a decline in sales in the book market. The situation was aggravated by the discussion in the government regarding a reduction in the period of ownership of literary property by the heirs of famous authors, the deteriorating health of the publisher and the categorical demands of her daughter to sell literary rights and stop book-related activities. The rights to publish Dostoevsky’s works were sold in 1910 to the Enlightenment Association. Another stage of the traditional history of the great writer’s legacy has begun, but without the participation of his family

Shawqi's Friends, Opponents and Contemporaries

This research sheds light on Shawqi's friends, acquaintances and opponents. As the Islamic tradition says, a man follows the religion of his friend, so look at whom he likes. In contemporary history, friendships between writers decreased and feelings of envy, hatred and competition for glory, fame and influence prevailed among them. This is what we see through the tense relations between great Egyptian writers, such as Taha Hussein, Al-Aqqad and Mustafa Al-Sadiq Al-Rafi’i in the 1930s and 1940s. The conflicts between Arab poets were intense, even if they belonged to the same movement. In contrast, there were writers who had beautiful friendships, lofty goals and literary ambitions, as were the friendships of Ahmed Shawqi. Shawqi had few friends yet many acquaintances. He selected his friends in the same way as a skilled jeweler would select exquisite gems to complete his creation and expensive handicraft masterpiece. He did not feel comfortable except in the company of a limited number of lighthearted people with sublime taste. Among those close to him were Mohammed Al-Babily, Dr Mahjoub Thabet and Sheikh Tamarah, who was imam of the Egyptian embassy in Washington at the time, as well as Hussein Shirin, Mohamed Jaziri and a few others, including professors Ahmad Rami and Muhammad Abdul-Wahab [1 (p. 117)].

V.P. Astafiev National Centre

The article presents materials on creation of the historical and cultural centre of Victor Petrovich Astafiev within the framework of the concept of sustainable development of Ovsyanka village in the Krasnoyarsk region timed to the 100th anniversary of the great Siberian writer.

Práticas (orto)gráficas seiscentistas na História do Futuro de Padre António Vieira

17th century (ortho)graphic practices in História do Futuro by Father António Vieira: This text analyses Father António Vieira’s spelling practices in História do Futuro based on a new conservative manuscript reading. Written, for the most part, between 1664 and 1665, the fragments of the História do Futuro that have come down to us, attached to Vieira’s inquisitorial process, are working texts, unpolished versions, which, therefore, may eventually reveal some marks of the “classic” period of Portuguese. On the other hand, taking into account that Vieira’s training in spelling falls within the “etymological” period and that his reputation places him among the “good authors”, also in terms of spelling, we seek to identify the conservative and innovative marks and, eventually, the manifestation of an individual practice, which, as is known, was, in Vieira’s time and until the beginning of the 20th century, a notorious trend, particularly among great writers.

METHODOLOGICAL CHARACTERIZATION OF PHONOLOGICAL CHANGES IN WORDS IN SMALL WORKS

The article examines the methodological possibilities of the phonographic tools used in the comics, stories and feuilletons of the great writer Abdulla Qadiri. The expression of denotative and connotative meanings by means of phonological units, their semantic-stylistic features, the importance of expressiveness in the language of small works is highlighted.

A Psychological Survey of Prem Chand’s Famous Short Story, Kafan

Munshi Prem Chand is a well known fiction writer in Hindi language. Famous writings of this versatile genius have been translated into various languages all over the world. His short story, Kafan has been debated, discussed and analysed in manifold ways. It was and has been very difficult for the traditional moralists and even modern humanists to believe that a great writer like Prem Chand narrated the episode of the husband and the father-in-law of a deceased poor lady with their callousness carouse and pass the time of rapture in Epicurean felicity with the money ex-gratia collected for the Kafan (Shroud) for the dead body of that poor lady. Only psychological implications of what Madhav and Ghishu have thought and acted under their impulses can explain the meaning of Prem Chand’s narration in the words which appear to some extent unacceptable to moralists and humanists.

The last illness of I.S. Turgenev

The article discusses the causes and course of the last illness of I.S. Turgenev. The writer was consulted by many famous French and Russian doctors who made various diagnoses and used various methods of treatment. The primary disease that caused Turgenev's death is myxosarcoma (one of the sarcoma variants), involving soft tissues and thoracic vertebrae. The article presents data and discusses alternative diagnostic versions about the nature of the disease and the causes of death of the great Russian writer.

Ngugi Wa Thiang’o’s Early Studentship: The Role of Education in the Making of a Great African Literary Writer

Do you know that most prolific or acclaimed writers the world celebrates have detected their talent since their prime? Do you also know that some renowned writers taught themselves or were taught by their masters at home prior to when they began to write? Do you know that some of them have not acquired profound formal education up to the university? Yet, it should be known that there are innumerable others, who greatly vary, for they have deeply studied instead. Writing is a natural prodigy; hence it requires no profound literacy to blossom. Take some immediate common instances in mind: Daniel Defoe, Jane Austen, Charles Dickens, D. H. Lawrence, Virginia Woolf, Joseph Conrad, Chinua Achebe, Cyprian Ekwensi, Sembene Ousmene, Wole Soyinka, Aye Kwei Armah, Naguib Mahfouz, Ngugi wa Thiong’o to name just but a few. At any rate, education is the fulcrum and the nucleus to writing no matter how little it is acquired. This is the focus of which this paper is concerned about. Its prime goal is to unveil how Ngugi’s early educational sojourn from the primary school through to the university has rolled out the writing carpet for him to step on as a novice writer, and to keep striding on it with varying degrees of artistic, strength and vigour, which subsequently cleared the challenging path for him to emerge as a legendary and dynamic African writer.

DEVELOPMENT OF SCIENCE IN THE WORK “DIWAN LUGAT AT-TURK” BY MAKHMUD KASHGARI. ASPECTS OF INTERRELATION OF DIFFERENT SCIENCES

This article is written about the specific features of “Diwan lugat at-turk” written by great Turkic writer Mahmud Kashgari and provides detailed information about the main content and main idea of the work. For each idea, the article provides an example from the work itself. Then, factual information about the interaction of the work with other sciences beside linguistics are given and the presented ideas are justified with the speeches of great scientists and examples from the work. Tables created based on personal research are presented at the end of the article.

ОСНОВАНИЯ И КОМПАРАТИВИСТСКИЙ АНАЛИЗ РУССКОГО ЭПОСА

The investigation of Russian folklore has not yet been fully institutionalized in literature, cinema, and theater. In Russian literature, for example, there are no novels about Koshchei the Immortal, Ivan the Prince, heroes of Slavic pagan culture and many other characters of this genre. Meanwhile, these are deep, colorful images organically integrated into an equally vivid context. Many great writers, such as Thomas Mann, have written about such gaps. The goal is to identify the main typological characteristics of the Russian epic, which, in our opinion, has been studied in this sense very one-sidedly. The methodology is a comparative analysis of various approaches (mythological, historical, structural, etc.) closely interconnected with the characteristic features and structure of epics. At the same time, considerable attention is the harmonious combination of various motifs of the epic: heroes, Kalik-passers-by, epic time, pagan influences, hyperbolization, etc. An attempt is made not to accept, but to take into account various influences on such studies (pre-revolutionary, post-revolutionary, inspired by the Marxist approach, structural analysis, which began to be used in the study of Russian epic since the 1970s). The Russian epic, thanks to a huge number of historical, social, and cultural connections, naturally interacts with the epics of the republics (union and autonomous) that were part of the former USSR, which opens up wide opportunities for comparative studies of various types. Paths are outlined for a comparative analysis of the Russian epic with the epics of the East Slavic peoples, as well as with the Yakut heroic epic Olonkho. The authors' further plans involve continuing the study of Russian folklore in the genre of fairy tales and the field of culture of Slavic paganism. The first of them has been studied quite fully, but the structural and systemic approaches to research need to be further developed. The culture of Slavic paganism is a little-studied area where there are still no established approaches, and there are different points of view on many issues. Here you can apply the methodological approaches outlined in our monograph “Philosophy of Olonkho”.

MOTIF FEATURES OF THE WORKS «KOKSEREK»BY MUKHTAR AUEZOVAND «WHITE FANG» BY JACK LONDON

«Kokserek»and «White Fang»are stories written by the famous American novelist Jack London and the famous Kazakh writer Mukhtar Auezov. It is obvious that the clear depiction of the image of a dog and a wolf with a convincing, artistic accuracy in a truly artistic language requiresa great creative search from the writer. First, it is due to the writer’s rich knowledge gained from the best examples of the world literature, and secondly, the natural talent and his own life experience. The present paper identifies the motiffeatures in the works "Kokserek" and "White Fang". The study relevance lies in the identification of two facts. The first fact is that the image of “wolf” cannot be found in the Kazakh prose before the work “Kokserek” by M. Auezov although this phenomenon had already found its place in world literature. Secondly, it is known that Mukhtar Auezov translated the work "Volk" ("Wolf") by Jack London in 1936. This simply explains the creation of a complex image of "Kokserek" by the great writer and the presence of harmony and originality inherent in both works. The study purpose is to conduct a comparative analysis on the plot features of the works. The works "Kokserek" by Mukhtar Auezov and "White Fang" by Jack London served as the material for the study. The study results shows that the metaphorical image of “wolf” created by Jack London later developed, became more complex, recognizable and supplemented in a new way in “Kokserek” of M. Auezov. Theoretical and practical significance of the work is that the study result can be used as a methodological tool for comparing the works of world literature. The scientific novelty of the study presents a number of particular studies and conclusions based on the analysis of specific materials.

Features of onyms in M. Karim’s works

Onomastics in fiction is a promising, young, but a rapidly developing branch of knowledge in linguistics. It expresses the importance of onomastic material in different ways, and its inclusion in scientific circulation covers the study of a wide range of historical, geographical and linguistic issues, starting from ancient times to the present time.Onyms are an important component of the semantic and stylistic system in the author’s use of language in fiction. They organically and willingly join the system of linguistic means of a literary text, participate in the formation of the work’s overall expressiveness, entering the author’s lexicon as an important indicator of the author’s style and creating an “onomastic space” of the work.Onyms in Bashkir, as well as in many Turkic languages, arouse the interest of many scientists. This article studies structural and word-formation features in the work of the national Bashkortostan poet Mustai Karim. A characteristic feature of the great writer’s literary texts is the use of word-formation suffixes in the onym formation in a work of fiction. In addition, we explored the components of these words. The study of the word formation structure and system of the presented lexemes proves that they will always comply with the norms of the Bashkir language.

Understanding Gogol’s life and actions

Paraphrasing Martin Heidegger, who repeatedly stated that “we are still not thinking”, it can be said that we still do not understand Gogol well. The article contains a reconstruction of the creative image of N.V. Gogol, which acts as a methodological basis for analyzing the personality of a writer or scientist. A hermeneutical analysis of the ideas in the book by Aleksey Davydov, published on the occasion of the anniversary of the great Russian writer, as well as the work “Gogol’s Disease” by the famous Russian psychiatrist and writer V.F. Chizh, which appeared at the very beginning of the twentieth century, is presented. A. Davydov’s book “The Soul of Gogol” seems to be directly aimed against the psychiatric understanding of the tragedy of our great writer. Davydov does not deny Gogol’s mental illness, but considers it secondary, derived from another deeper cause, which is of a purely social, or rather sociocultural nature. This reason is sociocultural contradictions (sociocultural split), which the writer could not overcome within himself