Main Story Research Articles

Rise of New Hungarian Prose: Narrative Strategies of Literary Emancipation in Péter Esterházy’s Production Novel

This article explores key narrative features of Péter Esterházy’s Production Novel (1979), a landmark of the “new” Hungarian prose of the 1970s–1980s. The article provides a brief overview of the novel and successively addresses the strategies of ironic re-interpretation of the production novel genre, observed both in Hungarian and Soviet works at the forefront of the Hungarian literary landscape in the 1950s. The analysis deals with the two-part composition of the novel that entangles the main story line with fictional comments, constituting a meta-narrative layer and guiding the perception of the novel and the reader’s possible interpretations; the complex structure of the narration and the whole system of formal techniques used for permeating the boundaries of different narrators’ voices within the text, which produces the effect of a distributed narrative (spatial, temporal, psychological, and axiological) focus. The author demonstrates that all these narrative techniques and devices are part of a premeditated strategy of literary emancipation dominating the “new” Hungarian prose of the 1970s–1980s, which can be considered, both aesthetically and historically, a stage of emerging postmodernism in the Hungarian literature of the time. The analysis leads to conclude that the emancipatory impulse of the Production Novel manifests itself not only in a set of narrative techniques but, through them, in the violation of basic pragmatic conventions of novelistic narration and undermining the settings of realist literature. The novel makes the reader reconsider the whole structure of the traditional narrative and further on, the ethical parameters governing the new literary communication.

Editorial Note: Suffrage and Beyond: Celebrating Women's History

Editorial NoteSuffrage and Beyond: Celebrating Women's History Elisa Camiscioli and Jean H. Quataert 2020 is the centennial year of the granting of women's suffrage in the United States through state ratification of the Nineteenth Amendment. Many diverse celebrations are planned to commemorate the anniversary, from museum exhibits and symposia to workshops and concerts. Indeed, as we write, local singers in Binghamton, New York already performed a concert called "Women of Note," featuring music composed by women and highlighting suffragist songs. The anniversary is a milestone of sorts. Suffrage was a cardinal aim of feminist mobilizations across the globe over the past two centuries, and the topic has spurred a vibrant yet increasingly critical historiography. With this issue, the JWH brings the insights of women's historians to the celebration. We open with a Special Forum that asks, provocatively, "What Difference Did the Nineteenth Amendment Make?" The Forum is guest edited by Liette Gidlow who proposed, organized, and edited it. She brings together six leading women's historians who write about the topic from different regional, class, and race perspectives. As Gidlow writes in her introduction, the authors extend the moment of 1920 "both backward and forward in time," inserting the suffrage question into the history of US imperial expansion and exploring the meanings of inclusion in—and exclusion from—the nation as the ranks of the voting public expanded. Each contribution to the Forum offers valuable documentary and historiographical details in a length easily adaptable for teaching purposes. Lori D. Ginzberg writes from the perspective of the women advocates themselves. She shows that over the decades, the consistent call for the women's vote reflected different rationales. She explores a "radical reimagining of political, religious, and marital hierarchies" inherent in suffrage claims in the antebellum era. She then examines the compromises suffrage advocates accepted around the turn of the century, a "tactical shift" that required concessions to white supremacy and to notions of women's purity. These political accommodations, Ginzberg writes, made suffrage "mainstream, respectable, and safe," setting the stage for 1920 itself—although the vote "left many things unsorted." Rosalyn Terborg-Penn looks at the outcome for African American women. Terborg-Penn, recently deceased, was a pioneer in the field of African American women's suffrage history, and Gidlow's introduction includes a fitting tribute to her pathfinding scholarship and their collaboration in this Special Forum. In her essay, Terborg-Penn examines the fraught history of suffrage for Black women and men who, soon after [End Page 7] ratification, lost the right to vote in the South. Her main story deals with Black women's formative role in the women's suffrage movement prior to 1920 and their subsequent mobilization strategies for the ballot through the Civil Rights era of the 1960s. Looking outside the formal borders of the United States, Rumi Yasutake takes us to Hawai'i, at the time a US territory. She focuses on Native Hawaiian women suffragists who seized the vote as a "means to recover their political and economic rights lost in the modern American system," including the right to hold office. In the next contribution by Cathleen D. Cahill, the vote is examined in the longer context of Native American history. Cahill explores the topic through the writings of two Native feminist intellectuals who creatively intertwined citizenship with sovereignty for Native Nations. Gidlow's own essay rounds out the Special Forum. She provides trenchant historical reassessment of the many sides to the "rise of the 'Women's Vote.'" In her telling, suffrage helped revive the Ku Klux Klan in the 1920s; it transformed a piecemeal strategy known as the "white primary" into a uniform policy that effectively barred "Black voters from local Democratic Party organizations"; turned the Republican Party after 1965 into a white party when southern white conservative Democrats defected to it; and shaped the "racial politics of the feminist movements." Since 1976, the women's vote, Gidlow observes, elevated Black women into a key constituency of the Democratic Party—on full display in the 2018 midterm elections in the Trump era. This issue also includes three article-length pieces. As in the Special Forum on women's suffrage...

On <em>A Multimodal Perspective on Applied Storytelling Performance: Narrativity in Context</em>

Storytelling, Self, Society, Vol. 16, No. 1 (2020), pp. 143–147. Copyright © 2020 by Wayne State University Press, Detroit, MI 48201 B O O K R E V I E W On A Multimodal Perspective on Applied Storytelling Performance: Narrativity in Context Kaitlin Cannava A Multimodal Perspective on Applied Storytelling Performance: Narrativity in Context by Soe Marlar Lwin. Routledge, 2020. ISBN 978-1-138-481657 . $155.00 Cloth, $57.95 Electronic. Summary A Multimodal Perspective on Applied Storytelling Performance: Narrativity in Context by Lwin (2020) proposes a new framework that details the various forms of narrativity within a live storytelling performance. It does so by effectively combining the elements of process and content of a storytelling performance. Lwin unites performance features and narrative content in order to analyze the emerging narrative structure by examining multiple live applied storytelling performances. Lwin focuses on the story, the storytelling discourse, and the storytelling event, which are the key elements in the proposed multimodal framework in an applied storytelling performance. The ability to account for the various components of storytelling has a long and important research history and has held the attention of many practitioners and scholars. Teasing apart the 144 n On A Multimodal Perspective on Applied Storytelling Performance structural nuances and accounting for and interpreting the content of a storytelling performance is the main focus of Lwin’s book, which she approaches in a careful and fastidious manner. In the application of multimodal framework, Lwin uses two applied storytelling performances: “Pyjama Night,” which is told to schoolchildren during a celebration called Racial Harmony Day, and “Dog Barks and Rooster Crows,” which is told to a mixed-age audience during a program designed to showcase the skill and talent of storytelling called Storytellers’ Showcase. During these two applications, Lwin analyzes the story, the storytelling discourse, and the storytelling event. To analyze the story, she explains the applied aspect of the performance (i.e., the institutional purpose and setting). To analyze the storytelling discourse, she examines how the storyteller and audience interact with one another during different levels of engagement. She also analyzes the story elements (abstract, orientation, main action, resolution, coda) while describing the vocal and visual features that help constitute the main story elements. Last, to examine the storytelling event, Lwin combines the forms, functions, and situations of each performance to analyze the compatibility, efficacy, and appropriateness of these elements during a performance. Within her analyses the author describes the elements of the story and its narrative potential. Relying on elements from the story (Kloepfer), narrative structures (Labov and Watezky), and multimodal performance features (Bauman , “Introduction”; Cassell and McNeil), Lwin examines each storytelling performance and the strategies used for a successful telling process. The author examines how the content of the story, which appears in a specific narrative sequence, is accompanied by a range of multimodal features (e.g., gestures, pitch, tone). Finally, Lwin incorporates how these elements collaborate with the overall performance event. These disparate features all come together to deliver the efficacy and appropriateness of the performance. The author remarkably and elegantly combines these features to elucidate the complexities of narrativity within an applied storytelling performance. Other scholars typically focus on one of these storytelling elements in order to shed light on cultural values (Polanyi; Bauman, World of Others’ Words), interpersonal relationships (Planalp and Garvin-Doxas), genres of talk (Jefferson), identity (Eckert), or emotions (Rimé). Lwin argues that by understanding the context of storytelling along with recognizing the various features of the telling, scholars and practitioners can exploit the receptiveness of the audience to the Cannava n 145 unfolding story and assist in the understanding of narrative structures and elements (124). The final chapter of this book is particularly interesting and showcases the possible alternative applications and trajectories to which the multimodal framework can be applied. In particular, the use of computerized software to determine the (in)authenticity of a performance versus printed versions of the same story provides a promising application of how certain features can enhance or detract from the overall experience of a telling. Lwin applies this example to language and literacy education by arguing that clustering certain features (repetition , mimic gestures, slowing down pace) while introducing...

Virages des visions de Patrick Modiano

This article focuses on some peculiarities in the writings of the French author Patrick Modiano, the Nobel Prize winner for literature in 2014, and deals with novels that have made him famous in the national and world art space. The article notes that P. Modiano’s novel mentality is characterized by the synthesis of such basic values as the development of a fabulous, external canvas and focusing on the internal structures of the individual self. The characters of his novels relay the psychological interior of a person imbued with values and consciousness of modern urban life. P. Modiano’s leading semantic plots depict the complex mentality of the sensitive person and the vicissitudes of his dramatic fate in the context of the Hypercity. The landscape of the Supercity or the Hypercity in P. Modiano’s novels is organically linked to understanding a life as a journey of obscurity. For self-narrators to live a full life means to wander through the drips of their memory, to travel the real and imaginary streets of their own prehistory, which turns out to be their main life story in the end. Prominent place in the novels of P. Modiano belongs to the development of the mythopoetics of Paris, which is interpreted as a purely “inner” city in the psychological interior of the self-narrators. The specificity of the novel depiction of Paris lies in the interpretation of this metropolis as a highly detailed toponymic mythologeme. The key point in the article is that each self-narrator is sooner or later confronted with an internal need to investigate his own story. That is why P. Modiano’s self-narrators always delve into complex, contradictory files of their individual self and become a kind of “detective for themselves”. This plot outline becomes the basis for unfolding a holistic ontological concept in P. Modiano’s novels that reveals its marker and matrix features in each of his works.

Mudrās in the <i>Mouli mantuoluo zhou jing</i> 牟梨曼陀羅呪経

In this study, I examine mudrās mainly in the Mouli mantuoluo zhou jing 牟梨曼陀羅呪経, which has been called the earliest text indicating mudrās. I list the mudrās, and analyze their roles and meanings. As a result, I found that the mudrās are closely related to maṇḍala, the main story (nidāna), and the esoteric ritual of abhiṣeka.

Os contos de Ântia: narrativas intercaladas em Efesíacas, de Xenofonte de Éfeso

Dentre os autores do romance grego antigo, Xenofonte de Éfeso é considerado o menos habilidoso em vista do estilo. No entanto, destaca-se enquanto narrador pelo emprego que faz das narrativas intercaladas, histórias embutidas no quadro mais amplo do romance. Esse artigo propõe-se a examinar o emprego desse recurso relacionando-o com Ântia, que é a uma só vez narradora e objeto de narrativa intercalada em Efesíacas. Argumenta-se que a estratégia promove a intertextualidade com a Odisseia e contribui para caracterização da personagem como dotada de habilidade retórica e astúcia.

THE DESTRUCTION OF FAMILY INSTITUTION IN THE FILM Coming Home（归来 Guilai）by Zhang Yimou（张艺谋）

The film Coming Home（归来 Guilai）tells a story about a prisoner, Lu Yanshi, returning home. He returns home twice. Firstly, he returns home by escaping prison because he misses his family. Secondly, Lu comes home after receiving a notice of rehabilitation from the Government. Neither of his coming home makes him happy. He finds his family unable to be whole as it used to be. How did the destruction of Lu Yanshi family happen, and what are the reasons? To answer this question, the film was examined in three ways, by discussing the setting of the story, by revealing the characters and the characterizations in the film, and by uncovering how the story of Guilai was told. These three ways may expose the main story of the film and can help us understand Lu family’s suffering. Essentially, the film was dissected using intrinsic approach; meanwhile, the story and the dialogues presented in the movie would be interpreted to reveal meanings. The findings of the research suggest that the condition suffered by Lu Yanshi family is caused by the policy implemented during Cultural Revolution. Even though the Cultural Revolution is over, Lu Yanshi family cannot be whole and happy as it was before the Cultural Revolution in China.

Brand Knowledge, Similarity to Story Characters and Perceived Influence of Gambling Advertising Among Spanish Sports Bettors: a Survey Study

The saturation of advertising stimuli to gamble has become a major source of concern in many countries, especially when it comes to sports betting. Despite the growth of advertising restrictions, very few evidence-based recommendations are readily available for policymakers. Furthermore, advertising is a cultural construct, and country-specific studies are needed to address the singularities of each market. The present paper provides empirical evidence concerning the impact of advertising gathered from a survey-based research with Spanish sports bettors (N = 659). The results indicate that those gamblers experiencing more severe gambling problems also report higher knowledge of bookmakers’ brands, higher similarity to the main story characters in sports betting advertisements and a higher perceived influence of advertising on their behaviour. The results also found no differences between age and gender in terms of advertising impact. These findings will help inform Spanish regulation that seeks to reduce the negative effects of advertising.

Juan Manuel de San Vicente, autor de comedias de santos en la Nueva España

Se estudian dos comedias de santos de Juan Manuel de san Vicente, rescatadas en forma parcial y editadas en 1990 por el latinista German Viveros, quien sostiene que sus características corresponden al Neoclasicismo. Se identifican una novela de Tirso de Molina y un poema épico de Cristóbal de Virués como las fuentes de que provienen una y otra. Mediante el método comparativo se demuestra que ambas se apartan del dogma de las ‘unidades’ de tiempo y lugar, aspecto característico del Neoclasicismo, y que el autor entretejió con la historia central otros episodios típicos de la comedia de enredo y del drama de honor, siguiendo la tradición de la comedia de santos española, de carácter híbrido y espectacular. Se concluye ubicando a este tipo de comedia, junto con otros géneros populares semejantes, como prerromántica.

Harnâme’nin yapı unsurları ve muhteva bakımından incelenmesi

Harnâme, mizah ve hiciv edebiyatı açısından önemli
 bir eserdir. 15. yüzyılda yazılmasına rağmen eserin şöhreti günümüze kadar
 ulaşmıştır. Harnâme’nin beğenilmesinin en önemli sebeplerinden biri
 işlenilen konunun güncelliğini koruyabilmesidir. Hikâyenin başarısında şairin
 rolü de unutulmamalıdır. Eser hacim olarak diğer mesnevilere nazaran küçük
 olmasına rağmen klasik bir mesnevide bulunması gereken bölümleri ihtiva
 etmektedir. Alegorik bir eser olan Harnâme’nin
 “Münâsebet-i Hikâyet” başlıklı asıl hikâye bölümünde bir eşeğin başından geçen
 olaylar anlatılır. Sahibi tarafından zor işlerde çalıştırılan zayıf ve cılız
 bir eşek, kendisini semiz öküzlerle karşılaştırarak boynuz sevdasına tutulur.
 Mesnevide boynuz sahibi olmak isteyen bir eşeğin kulağından ve kuyruğundan
 olması hikâye edilir. Hikâye üzerinden hırslı olmanın zararları dile
 getirilirken insanın elindekilerin kıymetini bilmesi gerektiğine dair mesajlar
 verilir. Bu makalede, Harnâme
 yapı unsurları ve muhteva bakımından incelemeye tabi tutulmuştur. Mesnevi,
 modern roman ve hikâye inceleme tekniklerinden istifade edilerek incelenmiştir.
 Anlatı; olay örgüsü, tematik ve biçimsel yapı, zaman, mekân, şahıs kadrosu,
 bakış açısı ve anlatıcı, anlatım teknikleri, dil ve üslup başlıkları altında
 ele alınmıştır. Harnâme üzerinde inceleme yapılırken yapı unsurlarının
 ve muhtevasının eserin başarısına katkıları değerlendirilmiş ve tartışılmıştır.

Keeping it real with Bruce Springsteen

PurposeUnlike artists using sartorial flair and flamboyant identities to shock and engage audiences, Bruce Springsteen is relatable, stable, consistent and authentic. Based on qualitative interviews of Springsteen fans of various levels, it is suggested that brands can sustain success through such tactics as existential authenticity, transparency and charity. His fans co-opt his music and co-create their own stories, which are enabled through Springsteen's use of universal themes and vivid details. In terms of a branding paradigm, he adapts to the post-postmodern era, where brands allow individuals to define their own meaning.Design/methodology/approachThe authors used a qualitative method in generating themes and relationships on the enduring success of Bruce Springsteen's brand. They interviewed 19 informants of various levels of fan support and various backgrounds and areas. They used grounded theory methodology, including open coding, triangulation and member checks, to develop themes and findings.FindingsIn general, it was found that narrative structure and cause-and-effect stories are at the heart of his enduring success. While his individual songs, stage performances and charitable works cover a variety of topics and interests, combined they map to the same universal story structure, thus giving his fans solid understanding of his brand. His underdog appeal and story of redemption are maintained through such tactics as vivid songwriting, activism and charitable acts despite his international success and fame.Research limitations/implicationsTheoretically, the authors add to the literature on celebrity branding, narratology and authenticity. Specifically, the authors build upon the notion of existential authenticity, connecting a brand to its various stakeholders beyond customers in a way that is holistically authentic. We also suggest that to sustain a brand for the long haul, it is necessary to be transparent and available to your community members. The story of your brand needs to resonate and be meaningful to the audience in a way that is believable, and more importantly true to the artist and product.Practical implicationsThe authors show how narrative structure and universal story themes create ways in which fans can identify. By not straying too far away from the inherent brand meaning, brands can achieve long-term success. Tactically, all ways to manage the brand must link to the main story, but authenticity and maintaining a macromarketing perspective are the keys to making the story believable and enduring. In Springsteen's case, according to our interviews, his music and the message of his well-scripted songs have always mapped well with his real-life persona, making a distinction between his staged persona and actual self visibly difficult to distinguish.Social implicationsPart of Bruce Springsteen's enduring success and strong brand are built on his charitable works and activism. Brands that have this aspect will endure as well if motives are transparent, benign and believable. Springsteen has succeeded in this aspect because his charitable works often go unnoticed or unreported, which his fans respect when they discover these acts.Originality/valueTheoretically, the authors also add to the question (i.e. WH-question) literature in terms of connectedness and felt meaning. Springsteen's music connects specific discourse to universal stories/themes via his vivid songwriting, live performances, charitable acts and multiple other tactics. The data suggest that Springsteen's experiences are so vivid and thoughtful that little is needed for the audience to obtain aesthetic or felt meaning of his universal story themes. He allows direct access to the stories without internal interpretation, which then allows for instant penetration of felt meaning.

Індоєвропейські витоки обрядовості слов’янського епосу

Was there a goddessSlavain Slavic pagan antiquity? Though there have been voices that it was possible, the analysis of Slavic folklore texts proved the issue to be more complex.The present paper shows that Ukrainian folklore as well as the folklore of other Slavic peoples may have preserved stable compositional clichés that can be traced back to Indo-European prototypes. In their turn, these clichés may be explained as the verbal reflections of ritual practices and sacred etiquette. It is stated that the final parts of Ukrainiandumas, Russianbylinas, and Serbian heroic songs that contain praise (slava) of natural forces can be regarded as remnants of pagan beliefs with strongly proved Indo-European background. The common motives ofslavain different Slavic epic traditions give us important insights into the Slavic pagan religion.At the end of dumas, bylinas, and South Slavic heroic songs, there is a distinct part in which the singer, apart from the main story, blesses the audience and the universe. This part had preserved the composition scheme comparable to that of Old Indianstutihymns, Pindaric, and Vedic poetry: 1) an invocation to the deity or a person with higher social rank; 2) a recounting of the previous (semi)mythological precedent; 3) a request.The obligatory lexical element of the final part of Slavic eposes isslava. As it is mentioned in the context of mourning over the dead or calming the natural forces, it is very likely that the concept was connected to the cult of ancestors and natural forces - one of the most archaic forms of religion. It is proved by two non-neighbouring cognate folklore sources. In Hutsul funerals up to the beginning of the 20th century,slavaused to serve as a taboo name of the soul of the deceased. Meanwhile, at least up to 19th century, the Serbs preserved the holiday ofslavathat is interwoven with the cult of the dead (e.g.,kolyvowas eaten during the rite).Thus, though we cannot claim the existence of the personified goddess namedSlava, we have strong evidence about the notion ofslava(praise, fame) that could have been current in Common Slavic religion. It is even more likely due to the underlying Indo-European tradition, in which the notion of fame was not personified though crucial for the ideology of warring elites (like in Pindar's lyric).Such evasive notion ofslavathat was not always personified though praised comforts very well to the picture of ancient Slavic religion handed down to us by Procopius of Caesarea. He claimed that ancient Slavs praised natural forces, rivers, and forests. Likewise, in the fragments preserved in some of Ukrainian dumas and songs from Kirsha Danilov's collection, the praise (slava) was sung not only to the heroes but also to rivers and fields.

Las microexpresiones emocionales y de historia

<p>Las expresiones en animación son la base de todo personaje, han evolucionado con el paso del tiempo para convertirse en un recurso narrativo más potente a través de las microexpresiones. Principalmente, en el cine de animación, son utilizadas para mostrar un énfasis puntual de un sentimiento del personaje en un instante concreto; mientras que en los videojuegos la implicación y el mayor tiempo invertido del espectador y jugador, han hecho que sea cada vez más utilizado para contar subtramas de la historia principal mostrada en pantalla, dándole mayor veracidad.</p>

Hitler and Film: The Führer’s Hidden Passion by Bill Niven

MLR, .,   have started a little more from that pole. is feature enables great writing always to be in two places at the same time. R I A H R Hitler and Film: e Führer’s Hidden Passion. By B N. New Haven and London: Yale University Press. . xi+ pp. £.. ISBN ––– –. Written by Bill Niven, a British historian known for his research on Germany’s dif- ficult past, Hitler and Film is part of a growing trend at university presses to publish books aimed at a general readership. Like Ben Urwand’s e Collaboration: Hollywood ’s Pact with Hitler (Berkeley and Los Angeles: Harvard University Press, ), this most recent contribution feeds the unending fascination with Nazi cinema as both the ultimate other of classical Hollywood and the most extreme example of the politicization of film. Aer years of ideology critical studies, film theoretical analyses, and Cultural Studies readings, both books also contribute to a renewed interest in the role of individuals, whether studio bosses or Fascist dictators, in controlling all aspects of film production and reception. Hitler and Film will be a satisfying read for history buffs and film fans interested in the ird Reich. e book is written in a fluid, highly readable style and provides a vivid account of the personal and political ambitions that propelled Hitler to take an intense interest in film as a technology of mass entertainment and a form of political indoctrination. ere are many details involving Hitler’s film-viewing habits, his heated arguments with Goebbels over films in production, and his alternately obsequious and menacing behaviour towards film actresses. Aside from drawing extensively on archival sources from the Bundesarchiv, Niven makes effective use of the numerous memoirs written by Ufa stars trying to justify their professional choices and to profit from the widespread fascination with what is oen described as the first media dictatorship. Hitler’s comments about individual films (e.g. ‘good’, ‘bad’) reveal him as an ardent film fan—but one with surprisingly ordinary tastes and limited powers of discernment. His interventions in ongoing film productions and his interactions with celebrities requesting special treatment confirm the conclusion reached by countless biographies of Hitler, namely, that the Führer enjoyed exercising control over all things major and minor. However, in what ways his decisions shaped a national film culture defined as much by its hierarchical power structure and ideological objectives as by the opportunism, pragmatism, and mediocrity of those working under these conditions remains an open question. Niven introduces the main story of his book by reconstructing Hitler’s intense love of film through the daily screenings at the Berghof and his repeated clashes with Propaganda Minister Joseph Goebbels. e chapters on Leni Riefenstahl, from her first party rally films to Triumph of the Will () and Olympia (), cover familiar ground explored in numerous monographs on (or by) Riefenstahl on her  Reviews life and work. Subsequent chapters document the public relations efforts surrounding Hitler’s appearances at film premieres, his representation in wartime newsreels, and his extensive socializing with celebrities at official functions and society events. Niven rightly highlights the difference between the pre-war and war years. Not only did Hitler become closely involved in the approval process for wartime newsreels and anti-Semitic films such as Jew Süss () and e Eternal Jew (); together with Goebbels, he also created the List of the Divinely Gied that protected film professionals from being sent to the front. Significantly, Hitler’s growing need for shaping the image of Nazi Germany for posterity coincided with concerted efforts to minimize his own film appearances—and conceal his Parkinson’s disease. For scholars of German cinema and media and historians working on the ird Reich, this book does not offer much new information or interpretation. Niven does not engage with the existing scholarship, whether on film propaganda (i.e. newsreels , state-commissioned films) or the kind of mainstream cinema that has inspired numerous studies on studio histories, film genres, and the star phenomenon. As a result, opportunities for deeper engagement are missed: how the kind of top-down approach chosen by Niven complicates...

İhtirasın Bedeli Bağdat Hatun Piyesinde İntikam Peşinde İki İnsan Togay ve Bağda

Gungor Dilmen creates an example of historical drama by making some changes and reconstructing the main story in the historical event in Bagdat Hatun. Togay, who is the closest to Bahadir Khan in Bagdat Hatun, a play full of personal ambitions and passions, is an example of the villain archetype with his actions and attitudes; he also always affects Bahadir, the Ilkhanid khan, in a negative way. Bagdat Hatun, who sets an example for the traditional Turkish girl/woman before Bahadir Khan proposed marriage to her, exemplifies a female villain acting with her lust and passion after the marriage proposal of Bahadir Khan. Togay and Bagdat Hatun, with their lust and desire for revenge, cause both themselves and many others to die terribly. Bagdat Hatun was examined from different perspectives in independent publications or other studies related to the plays of Gungor Dilmen. In this study, Bagdat Hatun was analyzed and investigated by means of symbolic reading through archetypal literary criticism.

Japan's Quest for Stability in Southeast Asia: Navigating the Turning Points in Postwar Asia by Miyagi Taizō

Reviewed by: Japan's Quest for Stability in Southeast Asia: Navigating the Turning Points in Postwar Asia by Miyagi Taizō Anno Tadashi Japan's Quest for Stability in Southeast Asia: Navigating the Turning Points in Postwar Asia. By Miyagi Taizō. Translated by Hanabusa Midori. Abingdon, Oxon: Routledge, 2018. 134 pages. Hardcover, £115.00/ $149.95. Carl Schmitt (1888–1985), the most trenchant critic of liberalism in the twentieth century, argued in the early 1930s that the right of belligerency is an essential feature of any state and wrote prophetically that "if a people no longer possesses … the will to maintain itself in the sphere of politics [i.e. if it is no longer willing to decide on and fight its enemy], the latter [politics] will not thereby vanish from the world. Only a weak people will disappear."1 Postwar Japan's foreign policy and scholarly interpretations of it have evolved under the shadow of what might be called "Schmitt's curse"—the thesis that when a state renounces the use of force it is thereby reduced to a nonentity, politically speaking. In line with Schmitt's thesis that politics is about the distinction between friend and enemy, the history of international relations in postwar Asia has usually been told focusing on the ebb and flow of the Cold War and on changes in patterns of alignment among the great powers. Events such as the Korean War, the Vietnam War, and the Sino-American rapprochement have marked its major turning points. Within this context, Japan's foreign policy has most often been depicted as following the Yoshida Doctrine, i.e., keeping a low profile militarily and politically while concentrating on the pursuit of pragmatic economic interests. Having renounced war, the use of force, and the right of belligerency in its constitution, Japan was seen as having little if any influence on the political framework that defined its own international environment. Despite its slimness and unassuming title, Miyagi Taizō's Japan's Quest for Stability in Southeast Asia is an ambitious book that seeks to challenge the entrenched view of postwar Japanese foreign policy as reactive, focused on economic interests, and devoid of vision. Miyagi argues that the main story of postwar Asia was not the Cold War and its aftermath, but the transition from decolonization to development, and that this transition was facilitated in part by Japan's long-term pursuit of the "depoliticization of Asia." The broad interpretive claim of the book rests on an analysis of the political history of Southeast Asia and Japan's policy toward the region (particularly toward Indonesia) between 1955 and the mid-1970s. Before the publication of the original, Japanese edition of the book in 2008, the author had published two monographs on postwar Japan's Asia policy, the second of which was awarded the prestigious Suntory Prize for Social Sciences and Humanities as well as the Nakasone Yasuhiro Award.2 In the book under review, which is intended for a broader audience, Miyagi builds on the results of previous research and reflects on the meaning of postwar Japan's Asia policy. The book is consequently heavier on interpretations and lighter on detailed historical [End Page 136] narratives, but the author's account is surefooted, and endnotes added for the English edition will direct interested readers to the relevant sources. One of the book's many strengths is that it takes a consistently multifaceted view, which allows the author to shed light upon his object of study from multiple angles. Below, I summarize highlights of the book's argument. Miyagi relates that Japan, having recovered its sovereignty in 1952, made its debut on postwar Asia's diplomatic scene at the Bandung Conference of 1955, which was dominated by an outpouring of anticolonial sentiment. Invited to Indonesia, Japan faced the choice of either siding with Asian states for the purpose of gaining acceptance in Asia or following the policy of the US, whose main concern was to prevent the passion of anticolonialism from pushing the new nations into the Communist camp. Japan avoided the dilemma by focusing on proposals for economic cooperation in Asia. Unlike the US, Japan did not—or preferred not to—see...

The key aspects and their meanings about ‘One Dupyo’ -Focus on the record of The Annals of the Choson Dynasty and the oral folktale-

This article was intended to compare the ‘One Dupyo’ in a historical record with his character in a fictional narrative which is based on history looking at the record of The Annals of the Choson Dynasty for ‘One Dupyo’ and the various stories to be introduced about ‘One Dupyo’. For this purpose, in the second chapter of this article, I organized how ‘One Dupyo’ was described in historical record reviewing the text of The Annals of the Choson Dynasty and the obituary of ‘One Dupyo’. Thus, although ‘One Dupyo’ has been trusted by kings, I could see that he was a man who received negative reviews from the other vassal. The excellent fearless vigor and cleverness which ‘One Dupyo’ had, it work as a merit for his success in the rebellion, but it was a hindrance to an official life. And in the third chapter, I suggested how ‘One Dupyo’ was shaped in the story on the basis of the oral folktale about ‘One Dupyo’. Also, I examined the ‘Silgi’ for ‘One Dupyo’ and the contents of historical novel in this discussion. Through this discussion, I could tell that the character of ‘One Dupyo’, who is being repeatedly produced in the data of the oral folktale, the historical novel, ‘Silgi’, is the hero who has to overcome difficulty. Especially, ‘One Dupyo’ in sad days of the absence of a powerful hero in Japanese occupation is shaped like an extraordinary hero. But, ‘One Dupyo’ in the oral folktale, his character is limited to those who advance to the government post and always on the road using his fearless vigor and cleverness. It also overlaps with historical evaluations. In that point, the main story of the ‘One Dupyo’ is the form of the oral folktale, the special title he had was to be glorified as a positive advantage according to the demands of the times, and to be criticized for its shortcomings.

‘You Were all the World Like a Beach to me’. The Use of Second Person Address to Create Multiple Storyworlds in Literary Video Games: ‘Dear Esther’, a Case Study.

This paper focuses on the problematic overlapping uses of ‘you’ within the video game Dear Esther (The Chinese Room, 2012) and how this gives rise to an uneasy and personalised experience rather than a fixed canonical reading. Dear Esther is a Walking Simulator and this type of video game is concerned with telling a story and not the conventional binary win or lose outcome of many other video games. The simple game mechanics reliant upon the player moving around a simulated space in order to learn the story means that a literary analysis is better suited to understanding the transmedia story worlds. Literary fiction uses multiple varieties of second person address to create story worlds, Walking Simulators encourage players to actively identify themselves not with but as the main story protagonist, and the use of second person address largely drives this identification.

УКРАЇНСЬКА ГРАФІКА БАРОКОВОЇ ДОБИ ЯК ПРЕДМЕТ ВИВЧЕННЯ В ПРАЦЯХ ВІТЧИЗНЯНИХ МИСТЕЦТВОЗНАВЦІВ ПЕРШОЇ ЧВЕРТІ ХХ СТОЛІТТЯ

Мета дослідження. Стаття присвячена вивченню процесу формування концепції національної своєрідності української графіки барокової доби в працях вітчизняних вчених київської школи першої чверті ХХ ст. Розглядаються наукові позиції відомих фахівців – Є. Кузьміна, М. Істоміна, К. Широцького, О. Новицького, Ф. Ернста, М. Макаренка та інших авторів стосовно відмінних рис українського графічного мистецтва в контексті загальноєвропейських орієнтирів розвитку галузі та його провідної ролі в розбудові системи національної образотворчості козацької доби (ХVІ–ХVІІІ ст.). Простежується внесок учених часів становлення науки про мистецтво в дослідження еволюції художнього оздоблення вітчизняних стародруків, тез та інших графічних творів у контексті стильових тенденцій тієї епохи. Методи дослідження полягають у комплексному історико-культурному підході, системному методі, синхроністичному аналізі публікацій одного часового проміжку, структурному аналізі. Наукова новизна. На основі аналізу наукових досліджень у цій статті систематизовано фрагменти досліджень українських мистецтвознавців першої чверті ХХ ст. щодо особливостей графіки «козацької» доби. Доведено, що у козацькі часи сформувалась самостійна національна мистецька школа, а майстри прагнули відтворити місцеву візуальну систему – типажі людей, одяг, побут, природне довкілля тощо. У графічних композиціях застосовувалась численна символіка саме місцевого характеру. Для вивчення особливостей графіки та перенесення її в сучасний графічний дизайн необхідно аналізувати стародруки, які зберігаються в бібліотеках та музеях України, робити копії та розробляти варіанти імплікацій. Виявлено, що серед вагомих композиційних особливостей як вияву самостійності українських графіків є застосування аркової схеми – орнаментовані пишними рослинними елементами та рамки з текстом або основним сюжетом у центрі. Висновки. Розглянутий матеріал засвідчує беззаперечну значимість й національну неповторність української графіки означеного періоду; зорієнтовує сучасних графічних дизайнерів на пошуки прийомів національної ідентичності дизайн-проектів та надає для цього підґрунтя.

Nollywood and Cancer: A Workable Partnership

Background and context: The Nigerian film industry also known as Nollywood is the biggest in Africa and the second largest in the world in terms of annual production. Nollywood produces hundreds of films every year, most of them low budget straight to DVD tapes. As at 2014 Nollywood had an estimated gross worth of about 5 billion U.S. dollars. It also employs about a million people in the country. Nollywood has since inception been able to blend historical facts with good imagination to create and sustain our society. It has done this across most genres, but a few. Health issues such as cancer is not well represented in Nollywood and about 80,000 Nigerians die of cancer annually. Aim: To encourage cancer themes in Nollywood movies. To help form an alliance between health professionals and Nollywood. Strategy/Tactics: Forming a platform where health professionals and Nollywood practitioners can converge to seek out cancer information for budding stories and get authentic, scientific information concerning cancer and help dispel some local myth on cancer especially in rural Africa. Program/Policy process: A working opportunity whereby more cancer themes can be introduced into Nollywood movies either as a main story, or a secondary one. Outcomes: A work in progress. What was learned: Though Nollywood lags behind in putting health themes in her movies, it is not too late to start off. The journey of a thousand miles starts with a step. Changing people´s perspective can be daunting, but impossible is nothing. Nollywood has to its advantage millions of followers and an established industry. What it requires is a collaboration with health professionals to make movies with cancer themes and highly factual in the science.