Love Of Literature Research Articles

Queer Korea

Queer Korea

«Сия книга грешного Степана»

The note is a brief description of the manuscript collection stored at the Pushkin House and compiled at the turn of the 18th and 19th centuries by the priest Stepan Vasilyevich Olkhovsky. A lo-ver of literature and, above all, poetry, he held the works by G. R. Derzhavin in an especially high esteem, and thus Derzhavin was represented in his collection by numerous poems of various years. Olkhovsky also enjoyed the verse by E. S. Urusova, approved of the efforts of N. M. Karamzin, showed interest in the work of I. I. Dmitriev, and made a point of reading the verse by the young poets, V. I. Krasovsky and P. S. Kaysarov. It is noteworthy that the collection opens with an ano-nymous translation of the fi rst three songs of Voltaire’s famous anticlerical poem The Orleans Virgin, as well as a burlesque poem by E. P. Lutsenko and A. M. Kotelnitsky The Abduction of Proserpine.

Письма Е.В. Бакуниной к Н.Н. Евреинову (1931–1934). История «маленькой» писательницы

The letters of émigré woman writer Ekaterina Bakunia (1889 –1976) to the dramatist, director and theater historian Nikolai Evreinov (1879 –1953) are published for the first time. These documents are of great value: these letters encourage us to plunge into creative laboratory of Bakunina (her collection of poems entitled “Poems,” two novels — “The Body” and “Some love for six persons”), to discover her doubts and fears (description of human body and physical love in literature) as well as some details about literary émigré life. The correspondence with Evreinov enlightens its readers about a marginal status of the authors, especially women writers, who dare to raise prohibited questions. “Minor” women writers were systematically under pressure of literary canon and cultural rhythm of the epoch and therefore they were forced to characterize their texts as quickly and badly written and “minor.” The publication includes a very short introduction, the correspondence with comments and a list of references.

Arthur Zuttner's Novel “Adjarians” and the Chorokhi Navigation Area

Chorokhi is the main river of historical southern Georgia. Interesting background knowledge about sailing on Chorokhi was preserved by the press and the records of travelers of the last quarter of the 19th century and the beginning of the 20th century, as well as by the collective memory of the population living by the edge of the river. Interestingly, the Chorokhi navigation area has almost never been reflected in fiction. Therefore, the work “Adjarians” by Arthur Zuttner is undoubtedly of great importance.Arthur Zuttner, an Austrian writer, lived in Georgia with his wife Bertha from 1876-1885. “Adjarians” was published in Germany in 1888, and the Georgian translation by Rusudan Ghvinepadze was published in 2007.“Adjarians” reflects the reality of southern Georgia before the Russo-Ottoman war of 1877-78. The action takes place mainly in the Chorokhi basin. The author describes the Chorokhi boat and sailing in only a few episodes, though, quite extensively. The work deals with the navigation images described by Zuttner in the novel, especially how the Chorokhi navigation area is reflected in the work and what is the relationship between the relevant episodes of the novel and the objective reality. It is obvious that the writer has deep insight into the life of the Chorokhi sailors and the local specifics of the river sailing. Obviously, Suttner's text is an artistic interpretation of reality, but it must also be noted that the navigational narrative in Suttner’s novel, with a few exceptions, accurately depicts a number of 19th century details of the Chorokhi navigation artery. Consequently, the images depicted in the novel are undoubtedly interesting for the literature lovers and the readers of fiction interested in the history or details of life.

RASUL GAMZATOV AND NIKOLAY TIKHONOV: PERSONAL AND CREATIVE CONTACTS

The object of the article is the creative and personal ties of Rasul Gamzatov and Nicolay Tikhonov, the famous Soviet poet, writer, and translator, who played an important role in the literary life of Dagestan, made a great contribution to the development of its verbal culture, one of the first opened it to the Soviet reader. Their strong friendship continued for many years. It was cemented by a common cause, a love of literature, a desire to develop it and convey to the reader their new ideas. Their relationship was of a trusting nature and was based on respect for each other.

Plague and Literature in Western Europe, from Giovanni Boccaccio to Albert Camus

In medieval times the plague hit Europe between 1330 and 1350. The Italian novelist Giovanni Boccaccio, one of the exponents of the cultural movement of Humanism, in the introduction (proem) of his “Decameron” described the devastating effects of the ‘black plague’ on the inhabitants of the city of Florence. The pestilence returned to Western Europe in several waves, between the 16th and 17th centuries. William Shakespeare in “Romeo and Juliet” and other tragedies, and Ben Jonson in “The Alchemist” made several references to the plague, but they did not offer any realistic description of that infective disease. Some decennials later Daniel Defoe, in his “A Journal of the Plague Year” (1719), gave a detailed report about the ‘Great Plague’ which hit England in 1660, based on documents of the epoch. In more recent times, Thomas S. Eliot, composing his poem “The Waste Land” was undoubtedly influenced by the spreading of another infective disease, the so-called “Spanish flu”, which affected him and his wife in December 1918. Some decennials later, the French writer and philosopher Albert Camus, in his novel “The Plague”, symbolized with a plague epidemic the war which devastated Europe, North Africa and the Far East from 1937 to 1945, extolling a death toll of over 50 million victims. Those literary works offered a sort of solace to the lovers of literature. To recall them is the purpose of the present paper, in these years afflicted by the spreading of the Covid-19 Pandemic.

Letters to Vygotsky: Thinking about the Cultural-Historical Psychology in the Contemporary Clinic

This article aims to make a tribute to Lev Semenovich Vygotsky and his contributions to Cultural-Historical Psychology in the contemporary psychological clinic. In order to build these reflections, we chose the letter format, considering that Vygotsky, a lover of literature, shared his theory with his students, collaborators and co-workers through letters as well. We understand that psychological clinic has always been one of Vygotsky’s interests, which has been expressed, for example, in the construction of the pedology and the defectology. Although Lev Vygotsky was not a psychotherapist in the models we know today, we identified that his concepts such as mediation, learning, and zone of proximal development among others can contribute significantly to the work in the psychotherapy field. With affection, we realize that Cultural-Historical Psychology is a current theory and presents itself as a great power in the field of psychotherapy. We suggest that clinical investigations should be done in this promising field.

Dynamic Form: How Intermediality Made Modernism

Dynamic Form: How Intermediality Made Modernism

FOREGROUNDING OF POSTCOLONIAL ELEMENTS IN HANIF KUREISHI’S THE BLACK ALBUM

Purpose of the study: This study aims to examine the postcolonial elements i.e, hybridity, mimicry, and ambivalence concerning Hanif Kureishi’s novel The Black Album (1995). The protagonist of the novel faces religious, economic, social, racial, and ethnic identities in a tormenting and perturbing social order of England.
 Methodology: This article is based on inductive reasoning and thus exploratory due to its qualitative nature. A close reading method is applied to the text of this paper. For this purpose, the researcher has read carefully the book Close Reading (The Basics 2018) by David Greenham. The method consists of five stages through which the paper scrutinized.
 Main Findings: The researcher endeavors to find out religious, economic, ethnic, cultural, and social factors behind the identity crisis faced by the protagonist. Hybridity, mimicry, assimilation, and ambivalence play a very vital role in the social life of the protagonist. The researcher found that Shahid Hassan is caught between two identities i.e, Islamic fundamentalism and liberalism. Islamic fundamentalism offered him much peace and satisfaction with the Islamic religion whose leader is Riaz Al Husain but the liberalism attracts his attention with drugs, sex, music, freedom, rock n` rolls, and carefree life in form of Deedee Osgood who is his mentor and is a college lecturer too. He becomes the victim of hybrid identity and remains in an ambivalent state of mind. Being a British immigrant, he always remains in search of his true identity. Being a postcolonial novel, it helps the students, teachers, and literature lovers to know about the biased and rude behaviour of the whites towards non-whites.
 Application of the study: Foregrounding of postcolonial elements is very significant only in the field of postcolonial study because it highlights economic, religious, political, social, cultural, and ethnic factors of identity crisis.
 Novelty/Originality of this study: This study is an original contribution as it examines the economic, political, racial, social, and ethnic issues faced by the protagonist. The researcher employed Homi Bhabha’s postcolonial elements to examine the identity crisis faced by the protagonist. Moreover, the close reading method for data analysis is based on originality as well as novelty.

The impact of literature-centric concepts on the development of the symphonic creativeness of Boris Tishchenko in the 1960s

The research subject is the symphonic creativeness of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The author studies his works of the 1960s inspired by classical and modern Russian poetry. The author focuses on such issues as the interrelation between music and poetry in Tishchenko’s orchestra compositions, and the significant influence of literature concepts on the development of his symphonic style. Special attention is given to the four outstanding works of the composer: “The Twelve”, a ballet based on A. Blok’s poem (1963), Symphony No.2 Marina to M. Tsvetaeva’s lyrics (1964), Requiem to the poem by A. Akhmatova, and a dramatic music “The Death of Pushkin” (1967). The author arrives at the conclusion that the most part of Tishchenko’s symphonic creativity was based on his love of literature, words, artistic image begotten by literature and poetry. The author’s special contribution to the research of the topic is a detailed study of large symphonic works by Tishchenko of the 1960s based on poetry. The scientific novelty of the research consists in the fact that literature-centric works by Tishchenko are being for the first time considered in the context of the development of his symphonic creativeness; the article detects a close connection between the author’s style and the composer’s language and the non-music confluence on his creative thinking.   

Reading in the Flesh: Anthropodermic Bibliopegy and the Haptic Response

Reading in the Flesh: Anthropodermic Bibliopegy and the Haptic Response Gillian Silverman (bio) How do books impact our bodies and how do our bodies respond to books? Three decades after purchasing The Norton Anthology of English Literature, I still cannot look at that volume without the memory of physical pain: the eye strain necessitated by its tiny font; the weight of its 2,600+ pages in my backpack and on my lap; the traction needed (and generally accomplished by incessant finger-licking) to separate the onionskin pages. As an undergraduate, nothing turned me away from the study of literature so much as that dreaded volume. It wasn’t simply that the book was physically burdensome; more problematic was that its clumsy and attractionless features meant that I felt no genuine connection to its contents. This, in contrast to a slim sheath of poems by Emily Dickinson gifted to me by my parents years earlier: although I didn’t understand much of the book’s language, I loved the large generous print, the thick scalloped pages, the delicate vellum cover. Reading the volume made me feel deeply connected—to Dickinson, whose dash-filled poems I tried to emulate; to my parents, who were also lovers of literature; and to the book itself, which was thin and spindly as I was. The examples of the Norton Anthology and the Dickinson volume make explicit what many of us intuitively know—that the book is a technology for engaging the human sensorium as much as it is a vehicle for the transmission of information. Indeed, in its latter function, the book is notoriously ineffective, especially from a twenty-first-century perspective. As Kenya Hara has written, “When you think about it, books as a medium for stocking definite information may be inconvenient. They’re heavy, they’re bulky, they get dirty and they fade with time. Their size is specifically tailored, yet they house an amount of information that could be easily contained in a tiny digital memory.”1 Despite these disadvantages, however, books endure because of our deep attraction to their material form. Our eyes relish [End Page 451] the book’s wide margins, our fingers rove its textured pages, our bilaterally symmetrical bodies detect their mirrored counterparts in the book’s verso and recto structure.2 In short, the physical book creates intimacy and reciprocity with readers. Its persistence over time, then—despite dire warnings of the book’s demise—can only be a function of its ability to serve as something more than mere vessel. Scholars of the book have yet to concede this point fully, however. To be sure, there are nods to the importance of the material book, especially in the fields of bibliographic and textual studies. Roger Chartier was one of the first to remind us that “readers . . . never confront abstract, idealized texts detached from any materiality. They hold in their hands or perceive objects and forms whose structures and modalities govern their reading or hearing, and consequently the possible comprehension of the text read or heard.”3 David Scott Kastan argues similarly “that literature exists, in any useful sense, only and always in its materializations, and that these are the conditions of its meaning rather than merely the containers of it.”4 But even as they focus on the book’s materiality, these accounts reaffirm the primacy of meaning-making rather than sensory experience. Jerome McGann’s use of the term “bibliographic code” in describing a book’s design features typifies this trend, making clear that his interest is in the work of decoding or semiology. When he asks “what kind of text do we face when the decorative and apparitional forms of book design and typography are driven to embody ideas and conceptual content?” he necessarily imagines the book’s bibliographic features (“design and typography”) as contributing to a larger ideational imperative (“ideas and conceptual content”) rather than having a sensual immediacy of their own.5 Jonathan Walker operates under a similar assumption when he wonders how, along with “the words on the page,” a book’s “materiality might jointly labor in the production of . . . meaning.”6 In these accounts sense-making trumps sensuous experience, and...

Prokofiev's Soviet Operas by Nathan Seinen

Reviewed by: Prokofiev's Soviet Operas by Nathan Seinen Terry L. Dean Prokofiev's Soviet Operas. By Nathan Seinen. (Music since 1900.) Cambridge: Cambridge University Press, 2019. [xiv, 255 p. ISBN 9781107088788 (hardcover), $99; ISBN 9781107460799 (paperback), $29; ISBN 9781316105214 (e-book), $140.] Music examples, tables, bibliography, index. Sergey Prokofiev dedicated considerable time and creative energy to the composition of opera. An avid reader and lover of literature, the composer revered opera above all other genres, contributing twelve works (eight mature) over the course of his career, [End Page 257] with opera projects extending from his childhood to the final years of his life. In part, it was his love for opera that motivated Prokofiev to return to the Soviet Union in 1936. The Stalinist state's sponsorship of opera and the prospect of a flourishing opera career appealed to him greatly. Unfortunately, the composer's plans did not work out as he had anticipated. Indeed, his status as a seasoned opera composer frequently served as an obstacle for him as he began work in a vastly different Russia from the one he had left nearly twenty years earlier. Nevertheless, Prokofiev completed four operas during his years as a repatriated Soviet composer—Semyon Kotko (Semën Kotko; 1939), Betrothal in a Monastery (Obruchenie v monastyre; 1940/43), War and Peace (Voĭna i mir; 1941–52), and The Story of a Real Man (Povest' o nastoi͡ashchem cheloveke; 1947–48). In Prokofiev's Soviet Operas, Nathan Seinen sets out to examine Prokofiev's four Soviet operas in a multitude of different contexts using a wide variety of resources, including score manuscripts, draft materials for each opera, and the composer's various notebooks as well as a number of Russian-language sources from disciplines such as film studies, history, literary criticism, and sociology. Seinen explores the works from their inception through their critical reception, with particular emphasis on understanding their individual ideological contexts and to "place them in within the wider frame of Soviet cultural history" (p. 4). What emerges is an assessment of Prokofiev's struggle for creative autonomy at a time when collaboration was promoted as an essential component of the creative process and frequently placed the composer in conflict with the demands of socialist realism as espoused by the State Committee on the Arts (forerunner of the Ministry of Culture). Ultimately, Seinen argues that "with all the pressures that were applied to opera composition under Stalin, it is remarkable how 'un-Soviet' all four of Prokofiev's late operas actually are" (p. 18). Undeniably, Prokofiev's efforts to compose operas that would appeal to international audiences served as a major obstacle to his success as a Soviet opera composer who was expected first and foremost to serve the state. Throughout the text, Seinen examines each work individually, emphasizing their role as independent cultural artifacts. As such, each chapter serves not only as a chronicle of its respective opera but also as a case study of Prokofiev's developing identity as a Soviet composer, the ever-evolving demands of socialist realism, and the complexities of high and late Stalinist aesthetics. Each work is revealed to be malapropos when considered against the expectations of Soviet aesthetics. In selecting the source for his first Soviet opera, for example, Prokofiev chose to set Valentin Kataev's I, Son of the Working People (͡IA, syn trudovogo naroda; 1937), which explored its Soviet subject matter through its setting in Bolshevik Ukraine during a period of German occupation. The novella had been reprinted multiple times and had been adapted twice for the stage as well as for film. Thus, Kataev's story seemed an ideal choice and to be an assured success. Nevertheless, Prokofiev's emphasis on action over affect, focus on the individual rather than the collective, and over-engagement with the humor of Kataev's story rendered the opera inappropriate in the eyes of critics and opened the opera to comparison by the Committee on Arts Affairs with Tikhon Khrennikov's Into the Storm (V buri͡u; 1939), which ultimately received the Party's (and Stalin's) official endorsement over Prokofiev's opera. Seinen's study also provides exciting new ways of understanding...

Almanac "Zora" as a Harbinger of a New Codification of the Slovak Literary Language

This article examines the history of the creation of the “Society of Slovak Language and Literature Lovers” which existed in Buda and Pest from 1834 to 1850, as well as the language of the almanac Zora, which was the first publication that simultaneously printed texts in the Czech language and the Anton Bernolak literary language. The first two issues of this publication (1835, 1836) indicate the beginning of a rapprochement in the language of Catholics and Protestants, as shown by the active inclusion of elements of Central Slovak origin in the texts. At the same time, Michal Godra, the editor of the first two issues, even published language recommendations to the authors, which could be considered a pre-codification of the new Slovak literary language based on the Central Slovak dialect. Comparison of the language used by Protestant and Catholic authors shows that they used different strategies when the language was Slovakised. If the Protestants addressed the Central Slovak dialect directly, although preserving some Czech elements which were lost in Slovak writing, the Catholics mainly followed Bernolak’s codification using — in a number of cases — elements which were virtually absent in his literary language. The linguistic material of the almanac Zora reveals the reasons for Ludovit Št.r’s codification: the reformer based his system exclusively on the Northern idioms of the Central Slovak dialect, ignoring actual language use. Compromise between the Catholics and Protestants was reached in 1852, when the Slovak literary language was enriched by Central Slovak peculiarities characteristic of either Catholics or Protestants. All the elements of Central Slovak origin which were unused by either Protestants or Catholics, but were present in Štúr’s codification, were removed from the literary language.

Literatura e leitura literária: agentes transformadores de vidas em uma comunidade atendida pelo Centro de Referência de Assistência Social

O presente artigo apresenta os resultados da ação extensionista “Círculos de Leitura e Centro de Referência de Assistência Social– transformação e literatura”, realizada em 2019 e promovida pelo Instituto Federal Catarinense – Campus São Bento do Sul com o intuito de colocar em prática uma das principais missões que o Instituto Federal Catarinense possui, que é promover a cultura, em nosso caso o gosto pela literatura, dentro da comunidade em que está inserido. O projeto atendeu jovens entre 10 e 13 anos, assistidos pelo Centro de Referência de Assistência Social, em encontros quinzenais visando estimular a leitura literária. Mesmo possuindo enfoque prático, toda a ação foi realizada a partir de embasamentos teóricos que estimulassem a comunicação e novas estratégias de leitura, assim como auxiliassem as crianças e os adolescentes a lançarem mão da literatura como uma possibilidade de autoconhecimento. A partir das estratégias aplicadas para desenvolver o hábito de leitura literária, observou-se, no decorrer dos encontros, um envolvimento maior dos participantes e um aprimoramento nas leituras e nas interpretações, além da ampliação da visão e do conhecimento de mundo, manifestados nas atividades propostas.

Resonance and Education

This essay addresses the relations between recent reassessments of critique in literary studies and current debates in the field of education. Drawing on the work of Hartmut Rosa, it argues for the relevance of “resonance” as an educational concept. Resonance is not an emotion but a relation: not a positive feeling but an often ambivalent experience of aliveness, excitement, and connectivity. As a sociological as well as phenomenological concept, it encourages us to acknowledge the institutional factors that shape the treatment of education as either resonance or resource. A brief comparison of John Williams’s Stoner and Dionne Brand’s Theory is used to question dichotomies between “love of literature” and “critical detachment”; both literature and critical theory can serve as powerful sources of resonance.

Awareness Level of Visually Impaired College Students about Urdu Poets and Poetry in Punjab: A Qualitative Inquiry

Language has been the most popular source of communication in human society since the start of civilization. The tradition of Folk Tales appeared as the foundation of literature in ancient times. Poetry is a significant way of expression in human literature. Urdu language possesses uncountable master pieces of prose and poetry. Visually impaired persons have proved themselves as literature lovers, good readers and visionary poets in past and present. This study is an effort to depict the awareness level of visually impaired college students about Urdu poets and their creations. The population of the study consisted of all visually impaired students enrolled in public and private sector colleges located in the district Lahore and Okara. A self developed and validated structured interview schedule containing 10 open ended questions was used to collect data from conveniently selected sample of 30 visually impaired students (males= 18, females=12). Descriptive statistics (percentages of responses) were calculated, collected information was coded; major themes were derived and interpreted by qualitative data analysis technique. The Study reflected that the visually impaired college students were having a lot of information about Urdu poets and their creations although there seemed a lack of in depth knowledge. They reported the lack of talking books and material in Braille on Urdu poetry of great and famous poets. They suggested the establishment of talking libraries throughout the country. Major findings were reported, conclusions were drawn and recommendations were made to Punjab Higher Education Department.

Gerhard Giebisch and the Gift of Mentorship.

Gerhard Giebisch, one of the giants of renal physiology, died on April 6th, 2020, at 93 years of age (Figure 1). He was widely known and admired for his many groundbreaking scientific accomplishments and was beloved for his wonderful personal qualities as an academic leader, educator, advisor, friend, and mentor. Indeed, Gerhard’s life exceptionally well illustrates the enduring gift of mentorship, from the mentors who critically affected his life to his own role as a legendary mentor to dozens of trainees. As the present tribute will provide only a brief summary of his biography, it is strongly recommended to access Gerhard’s own written (1,2) and video (https://www.youtube.com/watch?v=0PiuL51OA1Q) accounts of his life to learn more about this truly remarkable man. Figure 1. Gerhard Giebisch. Gerhard was born in 1927 in Vienna, Austria, where he was raised and attended elementary and high school. His first mentors were his parents, neither of whom had a background in science or medicine. His father was a high school teacher of German and French literature who had a special interest in history, and his mother had a love of literature and music. Gerhard developed lifelong interests in history, literature, and the arts, especially music, which he attributed to his parents. His family struggled financially during the economic depression in Austria after World War I, and his high school years were during World War II, with frequent interruption by bombing raids. Nevertheless, he persisted with his studies, including learning English as his second language. Gerhard credited the unconditional love and support of his parents for allowing him to flourish academically amid the economic and wartime hardships of this period. Motivated by his respect for two uncles who were physicians, Gerhard was one of about 1800 entering medical students at the University of Vienna in 1946, from which …

ОСОБЛИВОСТІ ПСИХОЛОГО- ПЕДАГОГІЧНОЇ ГОТОВНОСТІ ПЕДАГОГІВ ДО РОБОТИ З ОБДАРОВАНИМИ ДІТЬМИ

У статті проаналізовано психолого-педагогічна готовність педагогів до роботи з обдарованими дітьми. Висвітлюються сучасні концептуальні підходи до проблеми обдарованості, прийняті у вітчизняній психології та педагогіці; наводяться прийоми і методи ідентифікації як явної, так і прихованої обдарованості. Охарактеризовані сприятливі соціальні й психологічні умови для розвитку творчої обдарованості студентів. Звернено увагу на категорії обдарованих; сфери діяльності обдарованого студента; характерні особливості обдарованих студентів. Зроблений комплексний аналіз поняття «інтелектуально-творчий потенціал» студента. Представлена специфіка роботи з обдарованими студентами у закладі вищої освіти. Розкриті особливості підготовки роботи з обдарованими студентами: проблемні запитання; побудова гіпотез; «виділяти найкраще»; «запитання – відповідь; «інформаційно – пізнавальна суперечність»; «незавершене рішення». Запропоновані шляхи формування готовності педагогів до роботи з обдарованими дітьми: заняття у наукових товариствах; участь у тематичних масових заходах (вечорах любителів літератури, історії, фізики, хімії та ін.); огляди-конкурси художньої, технічної та інших видів творчості, зустрічі з ученими тощо.

Kajian Struktural, Sosial, Budaya, Agama, Dan Nilai Pendidikan Dalam Novel Harimau! Harimau! Karya Mochtar Lubis

This study aims to describe: 1) the structure of the Tiger novel! Tiger! 2) The social background of the Tiger novel! Tiger! 3) Cultural background of the Tiger novel! Tiger! 4) Religious background, and 5) Educational value in the Tiger novel! Tiger!. This study uses a qualitative descriptive method with a sociological approach to literature. Sources of research data consisted of objective data sources in the form of text data, genetic data sources in the form of author biographies and informants by conducting interviews with observers and literature lovers. Based on the results of the analysis of this study it can be concluded as follows: 1) The structure of the novel "Tiger! Tiger!" Mochtar Lubis's work with Themes, no matter how small the crime that is stored, will be exposed as well. Mandate: Life is most important believe in God and yourself. Language style uses personification. The plot / plot of this novel uses a plot / plot forward and backward. Characterization / Characteristics of good and evil doers. The setting / setting was built in the middle of a wilderness. 2) Social background is Belief in customs, superstitious ties, marriage, about leadership, religious life, and social harmony 3) Cultural background is a matter of marriage that is not based on genuine love and affection 4) Religious background is upholding religious value to repent before dying 5) Educational value of the Tiger novel! Tiger! Is the value of strong friendship and high tolerance.Abstract is written in English in maximum of 200 words in italics with Times New Roman 11 point. Abstract should be clear, descriptive, and should provide a brief overview of the problem studied, the method how to solve the problem and the result(s). Abstract preferably end with a comment about the importance of the results or conclusions briefly

Bookjoy! Día to Celebrate 25 Years: A Visit with Founder Pat Mora

It’s no surprise that passing along her love of literature—or “bookjoy!” as she calls it—has always been important to Pat Mora, award-winning author and literacy advocate.In fact, she compares her love of reading to her love of ice cream: “When you love ice cream, you want everyone else to like it. You think, ‘Oh, that’s delicious,’ and you don’t want anyone to miss the pleasure.”