This study addresses the scientific problem of the limited understanding of the unique characteristics of the Russian-language literary fairy tale genre in Buryatia within the region’s contemporary literary landscape. Modern literary fairy tales in Buryatia artistically synthesize mythological foundations with literary traditions and demonstrate a fusion of diverse cultures. The aim of this research is to identify the specific features of the fairy tale genre at the intersection of these cultures. The literary fairy tale “Grandpa Pusuu’s dragon” by Erzhena Batorova serves as the source material for this study. The methodology incorporates principles and techniques from comparative-historical literary criticism, alongside psychological approaches to literary analysis. Erzhena Batorova’s “Grandpa Pusuu’s dragon” is defined as a literary fairy tale. The analysis of the work’s ideological and artistic structure is conducted within the context of mythological and folklore traditions. The study examines the interplay of Russian, Buryat, and Chinese artistic traditions, defining the specific nature of its intertextuality. It also reveals the significance and role of myth and oral folklore in the development of the literary fairy tale genre. The analysis identifies motifs of magic, journeys, transformations, initiation, the spiritual path, exchange and deception, illness, return, disruption and the restoration of order. The realization of archetypal figures – the child, the shadow, and the trickster – is explored. The author’s reinterpretation of folklore heroes, such as the seeker, the victim, the antagonist, the helper, and the giver, is investigated. The correlation between types of heroes and their associated functions is established, and the scope of their actions is examined. The authorial perspective is revealed through an analysis of elements from folk cultures. The study identifies the inadequacy of the semantics of mythological images and the disruption of the sequence of hero functions. The individualization and increasing complexity of the author’s fairy tale characters, whose images are rooted in folklore, are traced. The practical significance of this research lies in enriching theoretical knowledge of the modern literary fairy tale genre in Buryatia. Future research directions may involve further investigation of the Russian-language literary fairy tale genre.

Objectives This study aimed to explore the process through which the researcher embodied mindfulness in their life. Drawing on nearly 20 years of yoga practice, the researcher sought to gain an in-depth understanding of how their life and mindfulness have interacted and evolved through the medium of yoga. Methods To this end, the study applied the three-dimensional narrative framework of temporality, sociality, and place, as proposed by Clandinin and Connelly (2000), to interpret and analyze the contextual meaning of the re searcher’s yoga practice experience. Additionally, to ensure the credibility of the research, analytic rigor was es tablished by focusing on validity criteria applicable to narratives—such as approach, honesty, truthfulness, au thenticity, familiarity, transferability, and economy—based on Huberman’s (1995) guidelines. Results This study involved a repetitive process of selecting and categorizing meaning units embedded within the narrative data, resulting in the identification of five key themes: self-care, letting go, dwelling in the present, ex pansion of mindful thinking, and improvement in quality of life. These findings demonstrate that yoga, which be gan as a physical exercise and beauty practice in the researcher’s life, functioned as a catalyst facilitating access to a mindful way of thinking beyond mere healthcare. In particular, the intensive yoga retreat experience in Bali served as a turning point that led to deeper awareness and a transition to a more awakened way of living, generat ing positive ripple effects across various aspects of life. This series of processes contributed to the enhancement of the researcher’s insight and continues to interact with and circulate through the researcher’s life. Conclusions This study constructs and interprets the process of acquiring mindfulness through yoga as a narra tive, illuminating how personal experiences are shaped and enacted within social and cultural contexts. Through this approach, it aims to contribute to expanding the meaning and potential of autobiographical narrative inquiry into mindfulness.

The present study (structured in two parts) approaches Bogdan Suceavă’s, ‘Istoria lacunelor’ so as to underline the authorial perspective on the ‘lost/unwritten’ books which are to generate a compensatory type of literaturedefined in a book placed under the essayistic drive.

In Matteo Garrone’s filmography, the choice of locations is always determined by a marked interest in physical reality, approached through an authorial perspective aimed at representing the coordinates of a complex system of human relations and the signs of the exercise of power, in its multiple declinations. In Terra di mezzo (1996) Garrone investigates the Pasolinian space of the Roman suburbs, now populated by Nigerian prostitutes and unemployed Albanians. The filmmaker’s gaze here traces fragments of existence in the forms of an excessive, unfinished and oppressive landscape. In this context, the acceleration towards indefiniteness takes on a clear allegorical value, explicitly referring to the condition of precarious impermanence experienced by the protagonists. This article intends to highlight the most significant characteristics of the authorial work on the forms of the natural and human landscape: their selection, the tendency to their allusive and paradigmatic over-signification, the presence, in them, of the lesson of the models.

This paper discusses a comparison between Kim Man-jung’s 『The Cloud Dream of the Nine』 and Hermann Hesse’s 『Narcissus and Goldmund』. The two works can be compared because they are similar in characters, ideological background, story structure, and content development method. In particular, both works require attention in that they deal with the issue of desire against the backdrop of medieval ruling ideology. Kim Man-jung’s 『The Cloud Dream of the Nine』 deals with the is sue of human desire against the background of Buddhism and Confucianism, while Herman Hesse’s 『Narcissus and Goldmund』 explores human desire against the background of Christianity. In addition, these two works grasp the meaning of de sire according to the way the narrative operates through the two male protagonists who show different and conflicting attitudes toward life, and raise the importance of the perception it implies. In 『The Cloud Dream of the Nine』 and 『Narcissus and Goldmund』, desire serves as a catalyst for the protagonists to question their existing lives, fostering their will to discover themselves or prompting them to decide to escape from their current situations. In addition, desires that have been concealed or suppressed by existing dominant and mainstream ideas, especially sexual desires, are justified in the narra tives or revealed as essential experiences for art. This dismantles the dichotomous thinking that has long been entrenched in history by dominant ideologies. The dominant ideologies that govern society set a dichotomy between abstinence and desire, distinguishes everything in the world, and dichotomizes all values, such as sanctity and profanity, father and mother, good and evil, right and wrong, beauty and ugliness, etc. It has been used to discipline people in society, and the two nar ratives criticize this traditional way of thinking. They discuss the unique value of desire as a natural human quality, the power of the desire impulse to move from ‘here’ to ‘there’, and the creation of a new world. They reveal the positive aspects of fostering a new civilization.

This paper attempts to examine the relationship between the author and the reader by polarizing history, morality, and society as a selected triad of theoretical interpretation. The study mainly focuses on the theoretical insights of these relationships in order to give proper clues for delving deep into the technical and thematic peculiarities of different literary genres. Therefore, it follows a qualitative approach to some fictional works, particularly novels, to demonstrate how the authorial perspective intersects with the reader’s ability to grasp the latent textual messages projected by authors in the course of the plots. The relationship between the author and the reader will be limited to three related topics, namely, history, morality, and society. As for history, the study sheds light on the postcolonial attributes of literature to reveal the function of liberal humanism in bridging the gap between the colonized people and the colonizers. Morality, on the other hand, will be discussed to explore the relative view of morality by authors and how the reader might conceptualize it according to his/her cultural background. Lastly, the discussion of society will be limited to the social customs and norms approached by authors to deliver a comprehensive depiction of the social reality in which the reader lives his/her true life.

The paper discusses the representation of Lizzie Borden in true-crime and crime-fiction prose texts, as well as in a stage production. It centers on the hypothesis of sociocultural aspects which constitute the accounts written about her and feminist readings. Regardless of genre, these nar ratives portray Lizzie Borden in various ways—from a female tormenter to a guilt-free spinster. Both true-crime books and crime-fiction novels, together with the ballet, are modified by socio cultural factors and are also subject to intertextuality. In addition, the lines between fiction and non-fiction literary works of primary concern are blurred.

Chinese online literature has rapidly gained popularity, displaying characteristics that differ from traditional literature, and has now become an important and unique literary genre. Chinese readers of online literature account for nearly half of the total number of Chinese internet users, approximately 537 million. This study aims to explore the linguistic characteristics of online literature through a combination of qualitative and quantitative methods. The study builds a large-scale corpus from the largest Chinese online literature website Qidian, focusing on six quantitative linguistic indicators: word frequency, lexical richness, lexical density, word vectors, punctuation distribution, and average paragraph length. Additionally, three text mining indicators—thematic concentration, information entropy, and authorial perspective—are introduced. The findings reveal that online literature features a casual and informal language style, characterized by a high frequency of function words, shorter average paragraph lengths, and significant reliance on dialogue. Furthermore, the thematic concentration is generally low, which is related to the verbosity of online works and their emphasis on narrative flow rather than detailed descriptions. Overall, this paper provides empirical data to enhance the understanding of the linguistic features of online literature and suggesting that future research could adopt broader metrics and more comprehensive text mining techniques.

This study delves into the intricate dynamics of narratives within tribal contexts, examining how narratives undergo change over time and mirror transformative experiences. Tribal communities have been impacted by globalization, cultural shifts, and individual authorial voices by following the trajectory from traditional tribal narratives to contemporary expressions. This present study focuses on contemporary tribal narratives analyzing particularly three chief works of great tribal writers; The Adivasi Will not Dance: Stories by Hansda Sowvendra Shekhar, The Black Hill by Mamang Dai, and Kocharethi: The Araya Woman by Narayan. Their narratives provide a forum for discussing the intricacies of transition, protecting cultural identities from contemporary influences, and advancing knowledge of the dynamic changes occurring within tribal communities. The study’s conclusion not only highlights the vital role that Contemporary tribal literature plays in promoting comprehension, adaptability, and cultural continuity amidst transitions, but it also celebrates the vibrancy of this genre through a thorough examination of themes and authorial perspectives. It also advocates for the inclusion of diverse tribal perspectives in the global discourse to contribute to a more nuanced portrayal of these experience.

Abstract Her award-winning novels and thought-provoking TED talks propelled the Nigerian writer Chimamanda Ngozi Adichie into the public consciousness and sparked a worldwide discourse about feminism in the late 2010s. Adichie uses her work to empower women all around the world to dismantle gender constructs, stereotypes, and sexualities designed to enslave women in society. Several researchers have successfully construed common motifs in her fiction. This paper draws on recent studies undertaken by Moffat Sebola, who affirms that Adichie’s Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions (2017) is not only a list of proposals; with closer examination, the manifesto reveals the recurring themes throughout Adichie’s writing. Furthermore, for analytical convenience, Moffat Sebola (2022) selects only seven of Adichie’s fifteen suggestions, identifies the elements that reflect her authorial perspective, and utilizes them as filters in analysing the author’s novels. The main objective of this study has been the presentation of the elements of Adichie’s fiction in all fifteen manifesto statements. In order to achieve this objective, themes of womanhood, femininity, love, history, culture, gender equality, and otherness are discussed in separate sections with examples from her novels. The first section of the paper provides a brief overview of African feminist fiction within which the work of this third-generation Nigerian writer is embedded.

This paper examines stance matrices licensing that-clauses in a corpus of instructional texts authored by women during the nineteenth century, gathered under the label COWITE19. These matrices can reveal various aspects of the authors' assessment, involvement and understanding of the information they present. In other words, their use discloses the authors' evaluation of their text while conveying a wide range of interpersonal meanings without disregarding their organising potential as textual markers. The types of matrices explored in this article precede the that-clauses and generally contain information denoting authorial perspective and involvement. The data used to demonstrate their forms and functions derive from analysing all cases found in the Corpus of Women's Instructive Texts in English (1550–1900) (COWITE); for the current study, only the nineteenth-century sub-corpus, henceforth COWITE19, has been considered. This corpus exclusively comprises instructional texts penned by women during the nineteenth century. The findings reveal that although the corpus primarily encompasses recipes from a diverse range of registers, the authoritative voice of women is distinctly evident in the matrices analysed, conveying a series of interpersonal meanings that unequivocally highlight the experience of women writers and their adept command of the content and techniques being discussed.

This research article analyses the authorial perspective and self-reflection in Hanif Kureishi's first novel, The Buddha of Suburbia. The dominant discourses of ethnicity, race, class, and gender are examined in terms of their effects on the categories of subjectivity and identity. The analysis focuses on the novel's protagonist, Karim Amir, tracing his life journey and showing how his self-perception is shaped by forces beyond his control but is malleable thanks to his extraordinary skill of mimicry. Karim mimics white English mainstream society consciously as a way to find his place in society and unconsciously as a political gesture against the forces of colonialism, neocolonialism, and capitalism. Drawing on the work of theorists like Homi K. Bhabha, Stuart, Fanon and others, we see that Karim and his relatives are complex hybrids who question the assumptions underlying Cartesian concepts of identity and subjectivity. Keywords: subjectivity, identity, hybridity, mimicry, colonialism, neocolonialism, capitalism

Many university educators have argued for a need for academic integrity education as an alternative to a focus on students' and scholars' compliance with academic rules and conventions (Brimble, 2016; Christensen Hughes & Bertram-Gallant, 2016; Hutton, 2006). I argue that the universal ethical-moral discourse of academic integrity disciplines subjects to comply with frequently alienating academic practices. This ethical discourse focuses on individual responsibility, in turn rendering invisible the authority of sometimes dysfunctional and oppressive instructional and summative assessment practices. Taking a Bakhtinian dialogic authorial perspective, the paper calls on students, scholars, instructors, and academic advisors to engage in critical ontological dialogue on diverse responses and motivations in regard to academic demands and deeds. Dialogue on situated instead of universal ethics in academic settings contextualizes and problematizes not just individual actions but also the ethics of the summative assessment regime, the instruction, the curriculum, authority dynamics, and the educational system as a whole. This discussion on academic integrity violations calls on educators to consider the ethical value of separating summative assessment from instruction.

This research is aimed to analyze the kinds of verbal humor and the application of GTVH (General Theory of Verbal Humor) found in the web series: Malam Minggu Miko, which centered the data in five episodes. The analysis focused on seven kinds of verbal humor by Shade (1996). The next section is the analysis of the verbal humor by adapting the GTVH Knowledge Resources or KR included six parameters which are SO (Script Opposition), LM (Logical Mechanism), SI (Situation), TA (Target), NA (Narrative), and LA (Language). The result of this research shows eleven verbal humor included; two satires, two ironies, two wits, two farces, one pun, one riddle, and one joke. The GTVH analysis by KR’s parameters through the data was also successfully applied in the ten verbal humors found in the web series: Malam Minggu Miko.

This paper reenvisions academic language learning in the university from a dialogic authorial perspective inspired by the work of Bakhtin. I argue that language pedagogues have misappropriated the radical alternative Bakhtin poses for language learning in his critique of genre through adopting a Vygotskyian internalization approach to discourse and a post-structuralist interpretation of Bakhtinian dialogic discourse as intertextuality. I explore how genre pedagogy has adopted these misunderstandings of Bakhtin to prioritize students’ and scholars’ socialization within pre-existing, commonly accepted, shared, authoritative patterns of discourse. I claim that genre pedagogy tends to legitimize the practice of university writing curricula to postpone students’ engagement in meaning making, focusing on training over education. I explore the consequence of this prioritization on socialization and training in form for suppressing students’ dialogic addressivity to and problematization of the ideas of others, which is an essential for meaningful academic discourse. By contrast, a dialogic authorial approach to language learning prioritizes education through students’ and scholars’ ontological engagement in posing problems and authoring meaning in communion with others. The expectation is for language forms to become a necessary byproduct of the production of utterances that are meaningful to oneself and responsive to others. When focused on meaning, academic language forms become invisible except when there are challenges with intelligibility or modality. I argue for a radical rethinking of university language learning curricula in terms of a focus on voice and the “stylistics” of form to serve meaning making.

Este artigo parte de uma pesquisa cibercartográfica amparada em uma aproximação entre as tradições pós-estruturalista e perspectivista, visando problematizar as informações utilizadas nas eleições presidenciais de 2018 que orientaram o comportamento dos eleitores brasileiros a partir da fragilização de fatos objetivos que passaram a serem substituídos por notícias distorcidas ou mesmo falaciosas, situadas no contexto da pós-verdade. Ao trazer alguns elementos acerca de como foram produzidas supostas verdades no campo da política institucional difundidas no ciberespaço, verificamos uma certa guerra de narrativas onde teorias conspiratórias e fake news são articuladas como estratégias de convencimento para que os eleitores difundam voluntariamente esses dados, muitas vezes camuflados de memes, vídeos, posts e etc., produzindo uma enorme confusão que reforça a própria comunicação falaciosa que busca corroborar a auto-verdade de quem recebe a informação.

Abstract This article analyzes the work of Chloé Zhao and its reception in order to explore the role of female auteurs in 21st century world cinema. By comparing Zhao to Kelly Reichardt, another US director acclaimed internationally for distinctive works of US regional realism, the essay argues that US independent women directors critique American cultural hegemony and the global dominance of Hollywood both through the subject matter and formal structures of their films and through their positioning within the discourse of world cinema auteurism. After analyzing the authorial personae of both directors as constructed in their films and press reception, the essay offers close readings of Reichardt’s Certain Women and Zhao’s The Rider, both set in the US West, with specific attention to the perspectives of central Native American characters. The readings demonstrate how the filmmakers use realism to locate a singular, gendered authorial perspective on the world.

The underrepresentation of ethnic and linguistic minorities, as well as their stereotyped images, are intrinsic to US society, which seems to want them to disappear in order to survive (Macedo 2013). These minorities are often absent from the screens, and when they appear, they are transformed into stereotypes and used as diegetic devices that the public is able to recognise. Even when the films are produced by minorities, they often end up reinforcing these stereotypes while trying to explain or confute them, ultimately surrendering to their social marginality. Indeed, these representations emerge from policies aiming to delete ethnic difference by stigmatising linguistic (Lippi-Green 1997) or social ones (Bender 2003). The power of cinema lays in its ability to shape memory and reality, actively contributing to social and individual narrations (Fluck 2003). In this sense, translation also plays a crucial role in re-presenting minority images to the target audience (van Doorslaer et al. 2016). The aim of this article is to tackle the issue of minority translation as a way to ensure them access to a broader public, in order to present the latter with their own voice and language. More specifically, this article explores the representativity issue as a matter of access by providing answer to the question: what does access mean for a discriminated minority?

To Have and to Hold: The Possessive Spectator, the Spinster Narrative, and Katharine Hepburn in David Lean’s<i>Summertime</i>(1955)

The question of the role, forms and functions of fragmentation of modern artistic narra tive is considered. The results of the analy sis of the fragmentary narrative of the works of contemporary English-speaking authors (J. Barnes, D. Mitchell, M. Cunningham, I. Banks, J. Franzen, S. Faulks, J. Eugenides, A. Smith, J. McGregor and others) are presented. The relevance of the study is due to the fact that in the modern literature of the postmodernist direction, nonlinearity of narration, deliberate mixing of temporal, local, descriptive and other layers are becoming widespread, practically becoming the norm. The novelty of the research is seen in the fact that the fragmentation of a literary text is studied at different levels — compositional, content-thematic, plot, ideological-figurative, genre, narrative, chronotopic. It has been proved that the forms of implementation of fragmentariness are quite diverse: irregular division of the text, heterogeneity of themes and ideas, lack of linear development of the plot, combination of elements of different genres, the presence of internal polystylism, the use of different types of narration and narrator, violation of the unity of the chronotope. The analysis of specific material showed that the functions of a fragmentary narrative are determined by each specific context, the leading ones being the impact on the reader, the management of his attention, the placement of accents according to the writer's intention, the creation of the impression of authenticity and reliability.