Literary Structure Research Articles

The Literary Structure and Schematic Clauses in 1 En. 72:8–32

Abstract This paper presents an analysis of the literary structure of 1 En. 72:8–32, which contains numerical data regarding the changing duration of day and night within the structure of the 364-day year. The central literary section of each month provides the reader with information about the changing length of day and night. The schematic clauses have been analyzed in the context of two Babylonian texts: Tablet BM 17175 + 17284 and Tablet XIV of the Enūma Anu Enlil astrological series. The redactional insertion in v. 27 has been compared with MUL.APIN II i 17, which contains the same information about the sun, but couched in a different terminology. The analysis demonstrates the process of appropriation, reinterpretation, and modification of schematic astronomical knowledge of Babylonian origin, as evidenced by the established relationship between the early form of Babylonian schematic astronomy and chapter 72 of 1 Enoch.

Allah Mencari Manusia Berdosa: Sebuah Analisa Sastra Teks Kejadian 3:8-19

Genesis chapter 3 narrates the entry of sin into the world and its consequence, original sin, for all of humanity. Amid this darkness, there is a glimmer of hope in the narrative, as God actively seeks out sinful humanity. This study aims to examine God's response to humankind after the fall into sin. Utilizing a qualitative literature study method, this research conducts a literary analysis of Genesis 3:8-19. The analysis includes translating the BHS text, constructing the text’s structure, character analysis, literary structure, and examining the dramatic flow of the text. The literary analysis yields three key findings. First, it is God who takes the initiative to seek out humanity after the fall into sin. God’s role as the protagonist in this narrative serves as key evidence of His desire to communicate with and save fallen humanity. The context of the fall and God's initiative to approach humanity underscores His pivotal role as the protagonist in this story. Second, while God seeks out sinners, His discipline still applies to those who violate His commands. This is clearly reflected in the dramatic structure intentionally crafted by the biblical author. Third, God takes the initiative to provide a solution to the problem of sin. The enmity established by God between the serpent and the offspring of the woman indicates His effort to deliver humanity from the bondage of sin.

Reevaluation and Renewed Readings

Abstract The pericope of David’s heroes is a scholarly junction of textual variation and literary-historical details regarding the military unit of David’s Heroes. This article reevaluates the spectrum of extant textual variants relating to the literary structure of this pericope in its two occurrences, at 2 Sam 23:8–39 and 1 Chr 11:11–47, with emphasis on the question of “warriors of the third rank,” with the aim of arriving at a better understanding of the structure of both the literary pericope and the military unit it describes. The textual reevaluation leads to the conclusion that, contrary to the preferred status of MT-Samuel in leading literary-historical studies, readings extant in other versions are to be preferred, while unique MT-Samuel readings, and the historiographical information they reflect, should be understood as either corruptions, reflections of a secondary tradition, or interpretation.

The evolution of artistic conflict in the work of V.S. Makanin

The subject of the study is the artistic conflict in the works of V. S. Makanin. The object of the study is the evolution of this conflict during various periods of the writer's work. The author examines in detail such aspects of the topic as the impact of social and historical changes on the structure and content of artistic conflict. Special attention is paid to the analysis of three key stages in the development of the conflict: the period of the Soviet era, the time of social reforms and the modern stage of the integration of Russian literature into the world literary context. The main thematic and stylistic changes that took place in literature in response to social and cultural transformations are analyzed. The research is of interest for a deep understanding of the specifics of Russian literature of the late XX – early XXI century, as well as for studying the interrelationships of the literary process with historical and social changes in the country. The research methodology includes a morphological analysis of the structure of Makanin's works, stylistic analysis as a culture-specific code of the author, and a modeling method for predicting literary trends and creating variations of texts. The main conclusions of the conducted research are the identification and analysis of the three-stage development of artistic conflict in the works of V. S. Makanin. The first stage reflects the transformation of Soviet and Russian society, the second – the spread of social tolerance in the last years of the USSR, and the third – the modernization and integration of Russia into world culture since 1991.The author's special contribution to the research of the topic is an in-depth analysis of the changes in artistic conflict in the context of sociocultural transformations of society. The study shows how external social and cultural changes affect the inner world of characters and the structure of literary texts. The novelty of the research lies in a multidimensional approach to the analysis of artistic conflict, which allows not only to consider it within the framework of a literary structure, but also to reflect a wide range of relationships between a literary work and changes in society over various historical periods. This allows us to better understand the mechanisms of interaction between literature and society, as well as to evaluate the individual contribution of the writer to the reflection and interpretation of these changes through the prism of artistic conflict.

“Their End Is Destruction”: Reading Philippians as Philosophical Dialogue

Paul’s address to the ekklesia in Philippi evidences an ideological conflict within the community. The letter encourages the community to persevere in a prescribed philosophy while simultaneously recognizing the presence of “opponents” (Phil 1:28) and “enemies” (Phil 3:18) against whom the community must “stand firm” (Phil 4:1). Building on Pierre Hadot’s work in identifying ancient philosophy as a “way of life”, this article examines the nature of this ideological conflict by reading Philippians in light of the conventions of ancient philosophical dialogue. While the letter does not take the strict literary structure of a formal dialogue, it can rightly be understood as a philosophical text that is engaging in a critical conversation about competing philosophical “ways of life”. In this philosophical dialogue, Paul critiques the alternative way of life on offer to the Philippian ekklesia by portraying it as an insufficient way of life that will lead to destruction. He simultaneously presents his own philosophy as the one that is consistent with the appropriate “goal,” the right “mind,” and a consistent “way of life” that will help the community attain their ultimate telos.

The Influence of Pound’s Imagism on James Joyce

As a famous writer of the Modernist literature, James Joyce’s novels are said to be abstruse and obscure. By tracing Ezra Pound’s influence on James Joyce’s imagist writing techniques, we can better understand his writing methods that combine Imagism and Symbolism. Joyce put much emphasis on literary structure and an unusual awareness of the linguistic medium. His exploration of the artistic technique was reflected in the concern of people and the society. By decoding his works, not only the problems of the society at that time, but also the general psychological and philosophical thinking of human beings are profoundly reflected.

World Literature: An Indian Way of Thinking

The idea of the world is a dynamic phenomenon, and the development of world literature is tied to both literary and extra-literary events. Worldwide literary centers can be found in many locations spanning both time and space. The concept of the world, or Visva (Sanskrit), is considerably older even if world literature has been a discursive framework that has affected the literary structures of many languages around the world since the 19th century. “Vasudhaiba Kutumbakam,” or the universal neighborhood, is a term from ancient Indian literature that attests to the age of the concept of Vasudha, or the world. As a result of numerous trade routes, cultural interactions, the expansion of ancient and medieval kingdoms, and the transit of literary writings, cosmopolitan literary spaces were created in various parts of t8he world. Additionally, the absence of modern cartography and the sovereign state system enabled constant changes in the borders of the empires, resulting in spaces with many languages. India has connections to several Asian nations dating back to ancient times, as well as to Europe since the medieval period. The diverse traditions of human thought from various parts of the world are carried in Indian literature. Significant literary contacts and the ongoing formation of new literary legacies were witnessed in the East, Middle East, South East, and South Asia of the present. The Sufi and Bhakti traditions, the reception of Indian epics as oral, written, and performative texts in South-East Asia, and the role of the royal courts as multilingual literary spaces continue to broaden the intellectual traditions of Bharat (India). Thus, the pre-modern development of world literature seemed intriguing and a subject worth exploring for literary professionals. This essay contends that ancient and medieval India and Bengal, particularly their languages, continually bargained to expand their intellectual frontiers.

The new paradigm of textual content in organizations: a multi-dimensional analysis in the digital landscape

In this article, we aim to expand digital literature analysis to evaluate organizational textual content, vital for contemporary organizations' communication and operation. By comparing traditional literary structures with this new content format, we identify various dimensions influenced by it, including marketing, technology, economy, media, society, and culture. The dynamic nature of the internet, search engine algorithms, and AI's impact on content prompts a shift from prioritizing quantity to emphasizing quality, echoing Lucien Karpik's 1989 perspective on the value economy.

Easy but Difficult's Literary Structure in Rahi Moeiri's Poetry

The use of Easy but Difficult's literary structure in Rahi Moeiri's poetry is the subject of this study. This literary device appears straightforward and easy to understand at first, but if you try to state it that way, you may run into a lot of difficulties and roadblocks. Several well-known poets have utilized it in their works, most notably Saadi. This study's primary goal is to examine, identify, and quantify the significance of this literary device in Moeiri's poetry. An attempt is made to address the subject of what influences Moeiri's usage of this literary device in this essay. The descriptive-analytical techniques used in this study are based on library materials. It has been suggested that Rahi Moeiri has incorporated more of the art of abstinence into his poetry. What part does this art play in the poetry's power? Numerous studies have been conducted on Rahi Moeiri's literary persona; these include the well-known Parvin Dekht's article on the topic and theme of Rahi Moeiri's sonnets and Akbar Sayad Koh's analysis of Rahi Moeiri's status among modern poets as well as some of the poetic elements of his speech. But as far as the researcher search is concerned, no particular book or paper has been written regarding Rahi Meiri's usage of the simple yet challenging style in his poems. The results of this study demonstrate that he wrote in a straightforward manner, staying away from Saadi's quirks, and adhered to Saadi's style by not using easy yet difficult words. Although it is quite difficult to produce in this fashion, the poet seems to have represented very vast issues smoothly and eloquently, and the elegance of his poems has made his words appealing. has cemented his unique position among today's poets; conversely, his poetry has found an audience among the general public and garnered a large following.

Daniel 11:2b–12:3

This article is the second and final part of a study examining the literary structure of Daniel 10–12. The first article identified seven passage sections and highlighted the literary elements supporting its structure. This second part analyzes the markers that define the central section, specifically Daniel 11:16–31, which addresses the theme of the Roman kings. Special attention is given to the oracle predicting the death of the Messiah (11:22b), emphasizing the unique themes and key phrases surrounding this declaration in the section on Imperial Rome (11:16–31). Additionally, internal divisions are proposed for each of the seven sections of Daniel 10–12. Finally, inferences are drawn to guide selecting the most suitable hermeneutical approach for studying the text.

How the Gospel of Truth Depicts Paul’s Secret Teaching: A Study in Second-Century Reception History

AbstractThis article shows that the Gospel of Truth (NHC I, 3), dense with allusions to sources now in the New Testament, most often explored for its resonances with Johannine literature, also offers significant evidence for second-century reception of Paul’s letters, while highlighting poetic images often overlooked. Correlating the language and literary structure of such Pauline passages as 1 Cor 1–6 with the opening of the Gospel of Truth shows that the latter implicitly claims to reveal the secret and primordial “wisdom of God” that Paul declares he teaches only orally to initiates (1 Cor 2:6–7). Thus, this text exemplifies a kind of “heretical” reading that heresiologists like Irenaeus deplore, when, for example, he cites this very passage to complain that “each of (the heretics) declares that this ‘wisdom’ is whatever he invents (fictionem videlicet), so that sometimes they claim that the truth is in Valentinus, or in Marcion, or in someone else …” (Haer. 3.2.1). Furthermore, this research suggests that the Gospel of Truth, narrating primordial creation, followed by a dramatic account of Christ’s incarnation and redemption, claims to offer, as the “true gospel,” a spiritual interpretation that far transcends the brief kerygmatic version set forth in 1 Cor 15:1–3. Finally, I suggest, investigating the Gospel of Truth’s interpretation of Paul’s teaching (which here includes echoes of Ephesians and Colossians) invites us to recognize elements of Paul’s letters most often overlooked. For, from patristic times to the present, exegetes who accept Irenaeus’s insistence that Paul had no secret teaching have dismissed the apostle’s emphatic claim that he did. Furthermore, those focused on dogmatic and ethical themes in Paul’s letters often miss poetic and mythological language at play in sources like the Gospel of Truth.

Analisis Puisi “Aku Membawa Angin” Karya Heri Isnaini Dengan Menggunakan Pendekatan Semiotik

Semiotically, poetry is a systematic and meaningful structure of signs determined by convention. Understanding poetry is nothing other than understanding the meaning of poetry. The meaning of poetry is a work that arises from language which is arranged based on literary structure according to its conventions. Therefore, to study poetry, it is necessary to conduct a semiotic analysis of the land, remembering that poetry is a structure of meaningful signs. The semiotic approach is considered capable of expressing the meaning contained in poetry, so this approach has received a lot of attention, namely with the research that has been produced. This article aims to discuss the hidden meaning of poetic texts through discussion and explanation from a semiotic perspective. This theory is used as a basis for explaining poetry in terms of the signs and interpretations thereof. The method used is descriptive qualitative with a focus on poetry as the object and research data. The results of this research show that the poem "Aku Brings the Wind" by Heri IsnaIni has a strong structure with signs that form meaning. The concept of determination is the dominant theme that builds the meaning of the poem as a whole. Thus, it is hoped that this research will open up research that utilizes semiotic theory in discussing poetry and other literary texts.

The Literary Structure of the Flood Account in the Animal Apocalypse

This article discusses the literary structure of the flood account (1 En. 89:1b–9) in the Animal Apocalypse (1 En. 85–90). Since the Qumran Aramaic text of the story (4Q206 frags. 8 I and 9) has preserved a shorter text than that found in the ancient Ethiopic version, the study of the literary additions found therein is also undertaken. Although the Aramaic text of the flood account is not free from some redactional elaborations of the literary structure of the story, the literary additions in the Ethiopic version expand the shorter structure, especially in the first part of the account (strophes 2–4). The insertion of new cosmic elements into the story (heavenly roof and earthly enclosure) creates a well-circumscribed space where the punishment of humanity, sons of the Watchers and animals by the waters of the flood takes place (strophe 4). Thus, the Ethiopic longer recension of the flood account is far more distant from the shorter text of 4Q206. The last part of this study takes a closer look at the literary context of the flood story that closes the first part of the Animal Apocalypse (1 En. 85:3b–89:9) and preannounces its second section (1 En. 89:10–90:19) marred by the shedding of blood and violence between the nations and Israel.

Itsuki Hiroyuki’s Farewell to Moscow Misfits and Entertainment Strategies: Middlebrow Novels, Jazz Novels, and Repatriates

This paper addresses writer Itsuki Hiroyuki’s 1966 debut novel Farewell to Moscow Misfits through the lens of middlebrow novels, jazz novels, and repatriates. This novel draws from Itsuki’s personal experience being repatriated from colonial Korea after the war and visiting the Soviet Union in the mid-1960s. Farewell was unique for its time in representing jazz, music, and youth “stilyagi” counterculture in the Soviet Union. This counterculture movement was roughly contemporaneous with the student movement of the 1960s in Japan. This period also saw the popularization of the “middlebrow novel”—an ambiguous term that was used to describe literature outside of the established pure/popular dichotomy. These amorphous “middlebrow” works allow us to read some of the cultural dynamics of the 1960s. Itsuki published many of his early works in so-called middlebrow magazines, not “pure” literary journals. Itsuki himself claimed that his works were neither pure literature nor popular literature; they were simply “entertainment”. He placed his works in relation to jazz, the circus, and enka. His unique views on cultural production and media emerged from his repatriation experiences and his encounter with Russian culture. This paper examines not only genre conventions in literature but also Itsuki’s objections to the pure/popular literary structure, as well as his place in cultural representations of the 1960s.

Daniel 11:2b–12:3

This study is presented in two parts, with the current article focusing on the macrostructure of Daniel 11:2b–12:3. By analyzing the Hebrew text, this article aims to uncover the underlying literary structure of this passage, which is crucial for achieving a coherent interpretation. The proposed structure identifies seven sections within Daniel 10–12, forming a chiasm centered on the pericope concerning the Roman kings (11:16-30). This central section notably highlights the Messiah’s death (11:22b), underscoring its pivotal role in the revelation and its significance throughout the entire book of Daniel.

Sunni Ḥadīth and Continuous Commentaries on the Eschatological Mahdī: A Literary Analysis

Many contemporary studies approach Mahdism from a political-science orientation or historical perspective, as the evidence is marshalled from the influential Mahdist movement in Islamic history—Abbasids, Fatimids, Muwahhids, Sudanese Mahdists, and so on. As such, it can be seen that there has been a lack of discourse as regards abstraction, particularly concerning the literary structure of Mahdī ḥadīth. This paper explores a panoramic view of ḥadīth commentaries in order to understand their commentarial production on apocalyptic questions, specifically focusing on the subject of Mahdī within this trend of Sunni ḥadīth scholarship. Ḥadīth commentaries are meant to bridge the gap in space and time between Prophetic words or teachings and the actual world of the reader. Hence, this study provides a brief survey of the documentation of Mahdī ḥadīth, starting with the classical Sunnite ḥadīth compendia of the second century of Hijrah. The material has been drawn from ḥadīth compendia, topical ḥadīth works, sīrah literature, classical-to-modern ḥadīth commentaries, and other theological writings and has been balanced when feasible with details (or lack thereof) contained in the Quran. Advocators have always adopted and adjusted their hermeneutics in order to answer challenges posed by deniers of Mahdī ḥadīth. Regardless of how exactly these strategies, attitudes, and uses arose, it is safe to assume that these scholars undertook their work out of professional vocation in addition to religious devotion. Eventually, ḥadīth commentaries found their place in the theological discourse according to orientations and operations of eschatology, which to a certain extent reflect classical, medieval, or contemporary attitudes toward the meaning and relevance of Mahdī ḥadīth.

Word Studies: A Combination of Immediate Context, Current Usage, and Authorial Intention

Getting to the meaning of a word is no easy task. It may seem like a quick process since the object of the study is the smallest unit of discourse. And it is so in most cases. However, it is at this basic level of meaning that most interpretative fallacies are committed: etymological fallacy, root fallacy, and illegitimate totality transfer, just to name a few. One must guard against such fallacies by considering at least three factors that determine the meaning of a word: immediate context, current usage, and authorial intention. The word is loaded with potential meaning, but potential meaning becomes real meaning only when the word finds a place in a particular literary structure, within a particular life setting, and in the particular intention of the author who utters the word. In other words, we should be interested in the meaning a word acquires in a certain context, corresponds with its usage in that period and by the same author, and fulfils the function the author intended for the particular passage in which the word occurs. In order to guard ourselves against fallacies of all kinds and guarantee a certain degree of precision in interpretation, we should look for what an author does with the word(s) he uses in a certain context.

Du témoignage à la narration : vivre après, vivre avec ? À propos d’écrits et textes de victimes et de leurs proches

IntroductionThis is an original research, the authors having not found in the specialized literature this kind of approach. The authors raise several questions related to the writings, testimonies, and autofictions published by the victims of attacks: Why tell yourself? What are the motivations that push a writer, an essayist, an anonymous person to tell the story of his life or a segment of his life? What triggers this need, this desire? Who are the recipients of these messages? MethodologyAnalysis of victims’ texts (written by direct or indirect victims or their relatives) according to several parameters, including chronological succession – sometimes meticulous – events, the narration of personal experiences at distances sometimes very variable of the situations that inspire them. AnalysisThis is a network analysis according to the method of comparative clinical epistemology which shows that: the literary structure and construction chosen by the authors are very varied, as are the literary genres mastered or sketched to which they belong. The roles of these texts and the functions to which the construction of such narratives responds differ according to the victims; we often find a remote function, a step back from a moment in his life that affects his future. Compared to the reader, the function of testimony and sharing does not seem a sufficient explanation while the need to make each disappeared live in the collective memory often appears to the victim as a necessity. The Narratology and Ricoeur's studies on identity and self-constitution have emphasized the richness of the notion of narrative unity of life while taking into account the difficulties it raises. ConclusionThe writings of victims account for an individual experience at different moments of the evolution of trauma and sequelae; the moment of transition to writing, near or at a distance of the attack is variable, as is the evolution of posttraumatic stress; as for the sequelae it is often appreciated differently by the victim, his entourage and professionals.

Kovida teoloģija: trīs pieejas

In the current article, the author reviews three publications from 2020 by three prominent authors: Let Us Dream by Pope Francis, Coronavirus and Christ by John Piper, and God and the Pandemic by Tom Wright. Each of these works represents a different Christian tradition (Roman Catholic, North American evangelical, Anglican) and comes from different part of the world (Argentina / Rome, USA, United Kingdom). The emphasis of this review is on the way the three different approaches interpret God’s role in the pandemic, human involvement and relation with God, and the way COVID is generalised in these three publications. The analysis also looks at the genre of the works, their sources, audience, and literary structure. After considering each work separately, the last section of the article provides a brief commentary on the three approaches. There are certain similarities among the three works, like God’s rule over all and the emphasis on the active role of believers during the pandemic. However, there are also notable differences, particularly in distinct emphases of the authors. Attempting to summarise these approaches, the article concludes with three questions that could be used as a simplified summary of each approach: “How can we change the world for better after the COVID with God’s help?” (Pope Francis); “Why has God punished me with the COVID pandemic?” (John Piper); and “Will we be content with simple answers about God’s role in the COVID pandemic?” (Tom Wright).

Poetika, jezik i stil putopisa kroz biografiju Moma Kapora

"Travel through biography" is a work that, by its very title, represents a challenge for readers and researchers. The phrase from the title, which contains two genre determinants - travel writing and biography (the truth is, both have inseparability from the personality of the author) opens up the problem of the formal code in which the work will be interpreted. That is why we decided to look at this work from a structural-semiotic point of view and thus determine the basic mechanisms of the structure of the text from which the work was created, i.e. the poetic principles that make it a coherent literary structure, bearing in mind first of all the procedures of description, essayization, narration, fragmetization and assembly. From the aspect of linguistic stylistics, Kapor used various forms of connectors in the realization of those procedures, which are, above all, lexical (reprise, synonym, deictic) and stylistic (anaphors, epiboles, epiphores, iterations) as signals of the contextual inclusion of the sentence. The dialectic of the external, apostrophized by the travelogue genre, and the internal, represented by the biography genre, leads to the conclusion that the work represents an intimate identity topography and topophily places stored in the memory of the narrator.