Story Of Father Research Articles

Dream and Archetype: The Perpetuation of Rituals and Myth Enacted in Sparsha

Myths, rituals, and dreams have been common traits of human beings; the underlying structure that underpins the interconnection between them and their inexplicable meanings coherently conjoined within has been a part of investigation. Accordingly, this paper analyzes dreams and archetypes for the formation of rituals in Nabin Chauhan-directed short movie Sparsha in the light of Carl Gustav Jung’s notion of ‘archetype’ and ‘collective unconsciousness’ and Joseph Campbell's understanding of myth. Sparsha presents a contestatory story of father and son because of divergent opinions regarding performing rituals. However, Aarohang, the son, ultimately observes rituals reconciling the discrepancies and difficulties. Against this backdrop, this paper argues that archetype necessitates performing a recursive pattern of behavior that becomes a ritual of a particular group of people, which is an enactment of a myth. In other words, Sparsha represents the conglomeration of archetypes and myths that unconsciously function in dreams, paving the way for observing the myths in the form of rituals. The paper discloses ritual has a long psychological trial deeply rooted in human instinct, conditioned by unconscious force and dream manifestation, and grilled by mythological narratives. This connection is the primary source that fuels the mechanism that perpetuates the domain of rituals thereby clinging to mythology.

Getting involved with your baby: stories of fathers starting out in the maternity ward

Gaining a better understanding of fathers' experiences in the maternity ward, and more specifically around childbirth, enables a better understanding of the process of becoming a father. The stakes are high, since these shared moments form part of the bonds that support the development of father-baby communication.

The Implementation of Father and Son Story in The Al Qur'an in The Family Character Education

Morals is influenced by both education and the process of religious values internalizing to the children. The foundations of moral education is the obligation of parents and it is also the duty of teachers, society, and the government through various educational institutions. This article also examines the verses of the Qur'an relating to an educational approach based on the story of father and son that later can be used to teach the children character in their family. One of the main tasks of a parents is to teach their children moral education beside people who they live with, teachers, and government. This paper discusses the learnings found in the Qur an, the story of Father and their Sons and discuss how it contribute a family character education. This research was categorized a descriptive qualitative, described the history of a Father and his son in the Qur’an and how it should be implemented in a family moral education. The techniques of collecting the data were interview and observation. The findings show the role of father use several approaches in teaching his children which are still relevant with the current context. These approaches include experiential approach, the habituation approach and the emotional approach. Several families that became the object of research have implemented the three approaches.

Stories of Fathers, Stories of the Nation: Fatherhood and Paternal Power in South African Literature (Grant Andrews)

Tydskrif vir Letterkunde is an online, peer-reviewed, accredited scholarly journal which publishes original, previously unpublished research and overview articles on theoretical, applied or comparative aspects of African literatures and cultural practices.

The poet, the saint and the imitation of Christ in Venantius Fortunatus’ carmen 5. 6*

Abstract In the paper, I am revisiting the complicated and many-layered interpretation of Ven. Fort. Carm. 5. 6, letter and figure poem. I am adding another layer by including the role of St. Symphorian, who is implicitly present in the poem through the addressee Syagrius, the bishop of Autun, Symphorian’s hometown. The presence of the saint plays together with the story of father and son that is told in the letter; the parallelism of the story in the letter and the saint’s legend could have laid additional pressure on Bishop Syagrius to give into Fortunatus’s plea.

Monsters of Our Creation: Reproductive Futurism in The Mist and The Host

In humanity’s dystopian imaginations, one of humanity’s biggest cultural fears is the loss of the child, the loss of the next generation which will carry on the species in a hopefully better future. Then, what happens if we fail to save our children? Both The Mist (1980 novella by Stephen King; 2007 film by Frank Darabont) and The Host (2006; Bong Joon-ho) are stories of fathers who try to fight for their children. This article examines how some of our societal fears are manifested in these texts as the cause of the dystopias, revealing that humans are guilty of engendering such nightmares. Although the fathers’ stories meet different ends, these three narratives about fatherhood and the loss of the child are in conversation with one another, addressing the audiences’ cultural fears in their own but overlapping ways. With the framework of reproductive futurism, the article compares the contrasting ends to discover a consistent message that reveals humanity’s collective efforts to fight against the cultural fears about the end of the human race through re/creative imaginings of the future.

Inheriting Ghosts in Latin American Jewish Literature: Forging Stories and Selves Out of Deathly Pasts in Sergio Chejfec and Eduardo Halfon

For those in Diaspora, Jewishness is a patrimony of blood and knowledge. The stories of fathers and grandfathers inscribe progeny into a lineage that links them to a family and thus, more broadly, to a people that stretch back in time. These connecting stories constitute a sense of origins, bequeathing a history and therefore a starting point from which children and grandchildren may form an organized conception of themselves. But what happens when death produces a problem in transmission, when trauma renders a story’s guardian dead in life, or when that life story becomes a narrative of death? Two Latin American autofictions, Argentine Sergio Chejfec’s Lenta biografía (1990) and Guatemalan Eduardo Halfon’s El boxeador polaco (2008), address the issue of receiving identifying legacies defined by death. The son and grandson of Holocaust survivors, Chejfec and Halfon grapple with inheriting haunting life stories by turning to writing. In the earlier work, death produces a dearth of information, and Chejfec combats the potentially damaging consequences of a biography mediated by the spectral by inventing details of a man and a history whose presence overwhelms through their absence. Halfon is told his grandfather’s story, yet, though known, it too haunts his attempts to use it to understand himself. While the former’s solution achieves some level of success in dispelling the disruptive aspects of the ghostly, the latter’s turn to writing almost twenty years later does not yield such resolution, suggesting that some shift has occurred—over time or generations—in attitudes toward resolving the persistence of death in identifying life stories.

Implication for Pastoral Counseling through Personal Myth Narrative Inquiry: Focusing on the Story of Father

Implication for Pastoral Counseling through Personal Myth Narrative Inquiry: Focusing on the Story of Father

Croatian War Nocturnal by Sebastian Schulman

obsessed with the stories of Oedipus, Rostam , and Sohrab. Thirty years later, Cem returns to Ongoren despite ill omens, to discover his destiny and to meet Enver, the narrator of the novel. The entwined stories of fathers and sons take unexpected turns and proceed like the epics that have long shaped Cem’s life. Pamuk’s readers will no doubt recognize the presence of his past works in this novel. Enver’s voice resonates with the assassin’s voice in Snow, Rostam and Sohrab’s story and the traveling theater company will bring back lines from the same novel; readers may find themselves hearing the cracking skull of a calligrapher in a sixteenth-century Ottoman well (My Name Is Red). Instead of the Venetians and Ottomans of the White Castle, it is Sophocles ’ Oedipus Rex and the Iranian poet Ferdowsi ’s Rostam and Sohrab that are gazing at each other, negotiating deep-seated fears about patriarchy in the East and West. Like Füsun, the red-haired woman, Gülcihan, despite her presence on the Turkish cover of the novel, is no more than a subject of desire. And Cem says his life changes after he reads a book on dreams, a statement that brings to mind the unforgettable opening sentence of The New Life. Despite its familiarity, however, The RedHaired Woman is a haunting and unprecedented novel. Pamuk’s mischievousness and playfulness are at a minimum, perhaps nonexistent. The murders in the book are sketched against a background of ancient epics and stories that create for the reader the illusion of a closed system, where one feels the weight of predestination and trauma in any troubled father-son relationship. Cem, who is a Poe fan in the story, immures himself with these classical stories, making the detective murder story within the novel even more evocative. In his shortest novel to date, Pamuk leaves the reader with questions about his choices in storytelling and his late style. For instance, the changing of the book title from The Well to The Red-Haired Woman means giving up a perfectly Freudian metaphor that captures the subtle threads in the book. This relatively late change in the title seems to coincide with the inclusion of Gülcihan as one of the narrators in the story and Pamuk’s decision to have a woman amid heavily patriarchal voices. This dominant patriarchal tone is reiterated with the presence and inclusion of the Western canon, from Hamlet to Rousseau and Jules Verne. In this way, the red-haired woman exists as a mysterious, iconic figure , represented by a Rossetti painting, reduced to a book dedication, and caught up in an Oedipal net. Iclal Vanwesenbeeck SUNY Fredonia Spomenka Štimec. Croatian War Nocturnal. Trans. Sebastian Schulman. Los Angeles. Phoneme Media. 120 pages. The Balkan Wars spawned literature across genres, in languages from émigré English and German to nascent Serbian, Bosnian, and Croatian. But Spomenka Štimec’s “fictional memoir” occupies a unique position. Defying the outcome of that war—six new nations, each comprising a dialect with an army—its language, Esperanto, from sperare (to hope), also functions as its theme. Each word embodies the aim of Zamenhof, who founded Esperanto in 1887 to transcend national boundaries and unite the world. Esperanto connects the eleven segments of this nocturnal (not a diary, its Latin root, nox / night, opposing dia / day) that capture the dark realities of the time. The typewriter of Štimec’s persona belonged to the Distributed Language Translation Project, a Dutch effort from 1985 to 1990 to enable machine translation using Esperanto as the intermediary language. On it this Esperanto Center employee, her visits to Serbia “a trip to our Croatian great-grandmother,” her annual holidays with Serbian cousins a “circle of harmony,” nightly records her experiences—Zagreb’s air raids, Vukovar’s destruction, Sarajevo’s siege, blossoming nationalism, separation from family, the death or disappearance of Esperanto colleagues. In Štimec’s epigrammatic style, irony both mediates and underscores horror, highlighting the absurd consequences of war (e.g., the hurdles faced when trying to ship a dead soldier’s body to his native France, revealing “the politics of storing the dead,” or the endless steps required to...

Susan Zuccotti. Père Marie-Benoît and Jewish Rescue: How a French Priest Together with Jewish Friends Saved Thousands during the Holocaust.

In the past decade, the reasons for the rescue and the survival of Jews have been increasingly studied by Holocaust scholars. This new interest has gone along with methodological innovations. Susan Zuccotti participates fully in this renewal but chooses to do so with a very classical tool: biography. Her new book tells the story of Pierre Péteul/Père Marie-Benoît's life before, during, and after the Second World War, and argues that “[s]uch background material is essential to an understanding of what Pére Marie-Benoît and his friends were able to accomplish” (p. 5). The story of Father Marie-Benoît's behavior during the Holocaust has long been known. The Capuchin monk saved the lives of hundreds of Jews in Marseille, Nice, and Rome between 1942 and 1944. He was recognized by Yad Vashem as a Righteous Among the Nations as soon as 1966. However, as a historian of France, Italy, and the Catholic Church during the Holocaust, Zuccotti manages to go far beyond the usual hagiographic portrait. She offers a genuine case study of the social factors that led to the rescue and survival of Jews.

Selective hearing: The gendered construction and reception of Inquiry evidence

In this paper we present a case study of the gendering of evidence in family policy reform. We examine the characterisation of data as legitimate or illegitimate in a recent Australian Inquiry into child support and custody issues. Using critical discourse analysis, we examine how Inquiry committee members interpreted personal anecdotes and social scientific data presented by witnesses. Data were characterised as legitimate when confirming an existing stock story of fathers’ disadvantage in an unfair child support system; these data were treated as evidence of a widespread social problem. Data that challenged the stock story were rejected as offering an inappropriate basis for policy reform. We conclude that in these reforms, the type of data, be it social scientific or anecdotal, was not as important as its alignment with a priori understandings of the nature of the world and the policy problems to be solved.

The Supernatural Elements as Metaphors of Life in W. B. Yeats's Purgatory and Haruki Murakami's Kafka on the Shore*

Yeats and Murakami are writers who believe in spirits. They both treat them as if they are real. Yeats's Purgotory is a story of Father and Son, Father killing his own son to disrupt the cycle of Life that is tainted, whereas Kafka on the Shore is a story of Mother and Son, Mother causing all the tragedies in Kafka's father, sister, and himself. Kafka's mother is a person of Memory that stays constant, which is the origin of all the tragedies, and refuses to flow with time; and Son intervenes in her Fate, changing her and himself. The leitmotif of the novel is the Oedipus complex. In the meantime, Purgatory is a practice of Yeats's religious system of Life and humanity. In the play, the two kinds of people are illustrated by Father and Son; Father can see the invisible, ghosts, but Son cannot. The play is based on the conception of souls being born again and again in endless cycles. To disrupt it Father kills his own Son, as he had killed his own Father. It is beyond the moral of the world, killing his own son, following his own belief. Both works could be read as a metaphor of life. One relies on psychology, and the other relies on mythology. Murakami may have read Yeats, and Yeats might be interested in Murakami if he lived and read him. Murakami is in a position to deal with this kind of subtle subject in a subtle way, because he is a writer of the East well versed in the West. In the same way, Yeats was in a unique position, who was familiar with things eastern. Hence, their works manifest strong inclinations toward mysterious milieu, most prominently what is supernatural.

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This book draws together many experiences and true stories of fathers' experiences in bringing up disabled children.