Universal Story Research Articles

STORIES OF THE PARASITE AND SYMBIOSIS AT A TIME OF CRISIS

Serres thought that humans had become the world’s parasites and that we must seek a more reciprocal partnership with our host. He put forward a legal justification for writing a new social contract that encompassed the more-than-human. Serres associated the foundation of the “natural contract” with the story of evolution, the biological relation between symbiosis and the parasite. Closely aligned to his proposal, Serres also envisioned the gathering together of a universal history revealed by the knowledge of the diverse sciences of matter and life and stories from the humanities and religion. He thought the “Grand Narrative” would bring people to an intimate understanding of our relation to the living world and the need for a contract of symbiosis. Serres referred to Molière’s Tartuffe, the fables of La Fontaine, the adventures of Tintin and Livy’s history of Rome to describe an underlying parasitical logic. Crossing social, medical, communicative and historical practices, the parasite is portrayed by Serres as an acquisitive guest, a contagious microbe, a confusing noise and part of ritualistic feasts. Crossing these specific examples, Serres depicts how the general operation of the parasite works in close partnership with the symbiotic. For instance, germs can both invade the body and strengthen immunity. As evolutionary biologists recognise, there is no simple division between parasitic and symbiotic processes. In this paper, I explore the biological–parasitic–symbiotic framework that Serres applies in the context of the ecological crisis and his proposal for a contract of symbiosis. I focus on pioneering research into the history of bacteria carried out by microbiologist Lynn Margulis and associated studies on the evolution of fungi and moss. I describe how this research contributes to Serres’s formulation of a universal story and at the same time helps both to supplement and critically engage with Serres’s thought on the natural contract. Specifically, I describe how Margulis’s contentions about the abilities of micro-organisms differ from Serres’s conception of the technology of “nature.” I also examine how his notion of the “Biosum,” a body that integrates all the perceptions and senses of the living world, informs his understanding of the divergent evolution of humankind. I conclude that Serres’s natural contract seeks to reinvent rather than imitate the rest of nature and briefly consider how his vision of inclusive global stories offers a glimpse of a new politics.

Pieter Bruegel the Elder’s The Tower of Babel (1563). From Art to Architecture

Aim. This paper examines the meaning of The Tower of Babel (1563), Pieter Bruegel’s painting, as a physical, cultural, social, and architectural herald of the modern skyscraper. The interpretation generated will form the background for a contemporary analogy to the modern skyscrapers. These large-scale aesthetic structures, form the sensation of an unnerving lack of space and does not correspond with the existing urban outline. Similar to the tower at the painting, that is a symbol of the lack of connection between nations and peoples, the skyscraper follows in the footsteps of its predecessor that symbolized the confounding of the languages. Methods. Four theoretical approaches will be utilized: (a) Examining the place of the painting within common approaches to the biblical text, based on familiar examples; (b) Converting the biblical story into a painting; (c) Analyzing and evaluating the painting from an aesthetic perspective; (d) In order to overcome the alienation and lack of community we shall utilize the phenomenological notion of place and space, which opens a path to architectural experiencing that promises to connect the individual to the environment, the world, and the community. Results. Pieter Bruegel the Elder’s approach to the biblical story and its artistic portrayal teaches us that The Contemporary Torah (2006, Genesis 11:1-9) is a timeless and universal story that illustrates human pretense, a lack of adequate self-evaluation, arrogance, and stupidity. Conclusion. The artist understood all this very well and possessed the originality and the daring to represent it even in contradiction of contemporary conventions.

Scenarios of Urban Lakes Due to Rapid Urbanization – Case of Tumkur City Lakes

Rapid urbanization is transforming cities and their outskirts, affecting both the natural world and the built environment. Urban lakes, once symbols of calm beauty and ecological balance, are at the center of this transformation. This study explores the dynamic landscapes formed by the intersection of urbanization and watery expanses in Tumkur City, India. These lakes represent the beauty of nature and the impact of human activity. The journey of Tumkur's urban lakes serves as an allegory for the universal story of how urbanization transforms environments, perspectives, and way of life. The study explores the transformation of urban lakes, highlighting their transition from quiet oasis to mirror of urban energy. It calls for action and transformation, focusing on sustainability and promoting local involvement in lake restoration initiatives. The importance of this mission resonates with the global conversation on balancing urbanization and environmental stewardship, reaching beyond the borders of Tumkur. The research journey serves as an analogy for the global urbanization story and the struggle for ecological sustainability and human ambitions to coexist in harmony. Key Words: Tumkur City, Rapid urbanisation, Urban Lakes, India

The relationship between conversion narratives to the self and to the community: a case study of a born again group in the Philippines

ABSTRACT Religious conversion from Catholicism to a Born Again denomination is an increasingly common phenomenon in the Philippines. Such conversions inspire personal narratives. Using various forms of testimony, new converts use autobiographical methods to narrate both an individual and universal story. The probative and transmissive dimensions of testimony are also affected by power figures, as these narrative forms are produced before the pastors in the new religion. What then of the reflexivity of the author of the testimony? Even if the conversion narrative contributes to the plausibility of the new social structure joined by the conversion, the latter can also be a source of reflexivity since it contains an internal dialogue with oneself.

END OF HISTORY, THE DESTRUCTION OF THE STORY AND THE DEATH OF THE HERO IN POSTMODERN DISCOURSE

The issue of the narrative is closely linked to the formation of the universal story and the individual interpretation of it within the dimensions of time, space and action. Postmodernism demonstrates the proclivity to destroy these three dimensions, in other words, to deconstruct them. The most effective way to destroy the story, and even worse, the universal story is to deprive it of the goal, and linear development, where past, present and future are carefully outlined, and the hero envisages the end of the story as the natural, logical and supernatural consequence of his actions or even inactions.

Yallah Bye or the Dream of a Farewell to War

Yallah Bye, an album published by Lombard (2015), illustrates two wars marking the contemporary history of Lebanon: the civil war (1975-1990) and the war between Israel and Hezbollah (August 2006). There is an intersection between two visions: that of a Lebanese screenwriter who tells a universal autobiographical story and that of a Korean illustrator who is committed to create an authentic figurative narration. The aim of the article is to show how this medium constitutes a documentary source within the framework of a cultural and social history. By exposing the repercussions of the 2006 war, images and text reveal, via humour and denial, a dream of peace despite the current turmoil and the obsession with a past that keeps repeating itself.

Бремя модернизации: патриархальные ритуалы, эмансипационная этика и исторические аллюзии в драме А. Ф. Писемского Горькая судьбина

The article explores how the social changes of the Russian Great reforms are represented through the love triangle between peasants and nobles in Aleksei Pisemskii’s folk drama Bitter Fate (1859). The adultery of peasant woman Lizaveta falling in love with her landowner becomes a more universal story about the crisis of patriarchal rituals under the onslaught of modernization. The author shows that in Pisemskii’s drama many emancipatory ideas, embodied in the main character Ananii, are closely intertwined with archaic practices and concepts of sin, repentance, and love, which suggests that the modernization project failed. Moreover, the article shows that constant references to tyranny, executions, and tortures in the speech of Lizaveta and Ananii revive the spirit of the bloody Russian history of the eighteenth century, which occupies a large place in the literary and cultural mythology of the Great Reforms era.

Jaką wartością jest naród? Rozważania na marginesie „Narodzin narodu” Kamila Polaka

<p>In the article, the author presents the nation as an ethnic, cultural as well as political group. Also, the author’s experience of workshops for adolescents conducted at the University of Gdansk is described. The starting point for the meetings was the etude <em>The Birth of a Nation</em> (Pol. <em>Narodziny narodu</em>) by Kamil Polak, a minimalistic animation about the rise and the fall of a certain nation. The proposed model of the etude starts with a universal story based on the impersonal metaphor of the circle and it continues to the students’ “here and now”, revealing the axiological dilemmas of the young recipients of culture. Not only the views of students regarding the issue of nationality are presented in the article, but also it reveals how this knowledge is constructed.</p>

How to Employ Nagasaki: Kazuo Ishiguro’s A Pale View of Hills (1982)

Not a few scholars believe that representation of scenery in Nagasaki is a mockery in Kazuo Ishiguro’s novel A Pale View of Hills (1982). However, Etsuko’s narration faithfully represents individual facts about Nagasaki, but her combinations of facts are not consistent with the real world. Overall, Ishiguro’s narrative strategy is to represent as realistically as possible how a person’s memory works; at a time when rigid opposition between history and fiction collapsed as a result of the expanding literary theory of postmodernist positivism. A somewhat distorted narrative of recollections holds true not only in Etsuko but in human beings generally. If everything in the record of one’s past life is fictional, realizing how one’s memory is distorted or colored is impossible. Thus, Ishiguro wrote Etsuko’s reminiscences by faithfully describing facts of Nagasaki, for instance, nonlinguistic artifacts and relics, but making them anachronistic or discordant in time and space. This strategy resists the postmodern view of history and simultaneously emphasizes human memories’ ambiguities and distortions. Nagasaki, as a faithful background setting for Etsuko’s memories, is entirely plausible because Ishiguro was born and raised there until he was six years old. Yet, the realism of A Pale View of Hills encompasses a universal story of reminiscence or human testimony by employing the narratives of an atomic-bomb victim and a war bride.

Fiddler: A Miracle of Miracles dir. by Max Lewkowicz

Reviewed by: Fiddler: A Miracle of Miracles dir. by Max Lewkowicz Debra Caplan (bio) Fiddler: A Miracle of Miracles, directed by Max Lewkowicz, Dog Green Productions, 2019. https://thefiddlerfilm.com A man with a violin sits on a rooftop terrace in New York City. Eyes closed, he plays the iconic opening theme to Fiddler on the Roof, the 1964 hit Broadway musical that has captivated audiences for decades. Later, we find out that this man is Sheldon Harnick, Fiddler's lyricist. Fiddler: A Miracle of Miracles is a documentary about musical theater that foregrounds music in a way that I've never seen before. Not only does the film open with an extended musical sequence, but filmmaker Max Lewkowicz weaves music throughout, deftly interspersing interviews with production footage of some of Fiddler's most beloved songs. Fiddler's soundtrack forms the structural backbone of this documentary. Lewkowicz tells the story of Fiddler On the Roof—its genesis, its key productions, its impact, and its legacy—through close readings of the songs, organizing his storytelling around them. Through "Matchmaker," Lewkowicz considers Fiddler as a story about female empowerment. "If I Were a Rich Man" becomes a conversation about casting Topol over Zero Mostel for the role of Tevye in the 1971 Fiddler film. The "Anatevka" section explores Fiddler's depiction of the refugee experience and contemporary resonance. Alongside these classics, Lewkowicz also includes songs that were ultimately cut from the show. There's a clip of Bock and Harnick performing a version of the title song that was later cut on a television show, and a memorable sequence about "When Messiah Comes," a comic number about God apologizing to the Jews for what he put them through that was cut during Fiddler's Detroit tryout. The inclusion of these songs offers fascinating insight into how Fiddler's creators developed and edited the musical. It's an unusual structure for a documentary, but by and large it works, presenting viewers with the story of how Fiddler on the Roof came to be through fresh perspectives on songs that most of its viewers already know by heart. Fiddler: A Miracle of Miracles features an impressive roster of interviewees. Lyricist Sheldon Harnick is interviewed at length about the [End Page 655] show's beginnings, alongside Harry Stein, son of the late Fiddler book writer Joseph Stein. Many other key figures from Fiddler's early days appear in the film, including producer Harold Prince and actor Chaim Topol. Steven Sondheim recalls what he thought the first time he heard the score and shares fascinating details on how notoriously difficult Jerome Robbins was to work with. Scholars, such as Alisa Solomon and Jeremy Dauber, offer historical context and background—though I sometimes found myself wishing that the filmmaker had made more use of his interviews with scholars and that there were more scholarly voices included in this film. Actors, and directors from various Fiddler productions reflect what Fiddler has meant to them and their audiences. There are also some delightful surprises. Lin-Manuel Miranda speaks at length about acting in Fiddler on the Roof in his very first school play and about what this musical means to him; later in the film, there's a memorable scene in which he visits Sheldon Harnick's apartment and the two musical theater composers talk about their writing. Itzhak Perlman visibly tears up on camera talking about what the song "Sabbath Prayer" means to him. The interviews are beautifully shot and edited, and it is clear that Lewkowicz loves Fiddler on the Roof just as much as his subjects and his audience do. However, as fascinating as this documentary is, it has a blind spot in its singular focus on Fiddler's universality. Again and again, the film emphasizes how Fiddler on the Roof tells a universal story with which almost anyone can identify. According to Lewkowicz, this universality explains Fiddler's remarkable staying power. True, Fiddler has touched audiences around the world, Jewish and non-Jewish. The film includes a famous and oft-repeated story that when Fiddler on the Roof first came to Japan, the producer asked Joseph Stein whether or not audiences in America understood the...

Interventions: An Interview with Ernesto Cisneros

InterventionsAn Interview with Ernesto Cisneros Frederick Luis Aldama and Ernesto Cisneros It certainly was not obvious that Ernesto Cisneros would become an author of one of 2020's most celebrated middle grade Latinx novels, Efrén Divided. Fresh with a degree in English from University of California at Irvine, Ernesto set out to become a screenwriter. He quickly became disenchanted with the film industry. He returned to university, obtaining a teaching degree from California State University, Long Beach. However, it was while teaching young Latino students that Ernesto fell in love with books—especially books for young readers. Given the lack of middle grade fiction written by and for young Latinos, while teaching by day he would read and write any chance he could get. Ernesto not only received an MFA in creative writing from National University, but he honed his craft by writing numerous YA novels. The publication of Efrén Divided (2020) marks his powerful debut. Here he tells the story of Efrén Nava and his twin siblings Max and Mia as they live in fear of their parents' deportation and then as they struggle to survive once Amá and Apá are deported. Ernesto is currently writing another middle grade novel. He intends to write YA novels next. Frederick Luis Aldama: Ernesto, how might you see you and your work intervening intellectually, creatively, politically in the world? Ernesto Cisneros: Efrén Divided can potentially have a big influence on the mainstream narrative covering stories of Latinx families, including stories on immigration. Along the same lines that Coco (2017) presented a universal story through a Latinx lens, I think my book can do the same. At the heart of the story is the idea of a family doing the best it can to make a life for themselves. It is my hope this book will help readers become sympathetic to the plight and struggles of others who share those same dreams. After all, America's history is founded on the dreams of immigrants. FLA: When writing Efrén Divided,who was your ideal reader? EC: After trying to write for fourteen years, I had pretty much given up. Then my children asked me if I could write something they could read. Suddenly, I had audience, readers who meant the world to me asking me to write a novel that they could to read. And, this was the time right after Trump's election when Latino students in my classrooms were living in fear of deportation and whose parents were being deported. I decided to write for my kids and for my students. I wanted these young readers to not have that sense of disentitlement that many of us, me included, grow up with. I wanted them to be able to see the value of their family and our culture. I wrote it for them. When I finished Efrén I gave it to my kids. They loved it. I thought I'd accomplished what I'd set out to do—I was wrong. I never imagined that the book would reach beyond them and the Latino students in my classrooms. Never would have expected a huge publishing house like HarperCollins would be interested in purchasing it. FLA: How did you get your foot in the door with HarperCollins? EC: After so many years of being declined by just about everyone in the industry, my fantastic agent, Deborah Warren (East/West Literary Agency), would simply not give up. After hearing the way my own children connected to the story, she saw something special about the story. She immediately pitched it. I was surprised and skeptical. I'd been through this process many times before. Deborah sent the manuscript off, and two weeks later we had an offer from HarperCollins. After fourteen years of rejected query letters, a deal had been made. This was the first time that I really saw myself as an author. It was a special moment for me. FLA: Ernesto, you're an author and a schoolteacher. How do you manage to balance writing with teaching? EC: That is the biggest challenge that I face right now. It's not just the academics. I differentiate...

Nestvarna priča o stvarnom snu - san kao "druga stvarnost" u pripoveci "Sahrana u Sušiću" Petra Sarića

Although his life is tied to the Kosovo-Metohian environment, the greatest living writer from Serbia's southern province, Petar Saric, with his thematic motifs, stayed faithful to the Banians, that have almost a mythical appearance in his novels. After immense suffering and pogrom of Serbs from Kosovo and Metohy in 1999, Saric has stayed faithful to the spiritual space, and his exile from Prishtina, where he has lived and worked for years, didn't mean an exile from the southern Serbian province. Finding refuge in a seemingly more quiet and safer place, in Strpce, on Brezovica, Saric practically chooses not to be defeated in his personal life and literature. It is witnessed by his works published after the ominous year at the end of the millennium. But life in a hostile environment, a constant fear of revenge and death, has made Saric turn to "realistic prose." However, it has been realistic only when the tragic everyday life has become a subject of the art process, where another layer has been added, typical for Saric's narrative act, and it can be described as magical, enigmatic, and phantasmagoric, as an intertwining of realistic and unrealistic, physics and metaphysics. The story "Funeral in Sushic" (2015) is, above all, characterized by a moral lesson of a story about a dream that is more horrifying than reality and reality that is more horrifying than a dream; other words, it is characterized by a function of a dream in the story. On the one hand, it enabled the writer to present the readers with everyday life reality through a different "reality" - the reality of a dream (since most vivid dreams are often more persuasive than the moments of "reality"); it enabled him to involve a reader into the magical world of storytelling and narration through a story of the evil that was spread through spaces of reality and spaces of dreams. On the other hand, "Funeral in Sushic" is realized as a universal story of man's suffering, that is a suffering of any man in any time, where a dream of one's own death was used as a "base" for a story about "a man in adversity and a soul in agony" (Goethe). The most profound meaning of the story is in its narrative rhetorical question "is it possible that I will give a eulogy to myself!" with this question, Saric not only opened new dimensions of meaning and values of his mainly realistic prose, but he raised the following question: Isn't it that we deliver the eulogies for ourselves and to ourselves, where the spaces of evil in his prose become hopeless distances of life, especially in a place of an ordeal and in a time of ordeal like the one that the writer brings into his story: 2015, Strbac, Brezovica (Kosovo and Metohy).

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.

Connecting to life: a new, emerging learning disposition within a Godly Play educational framework

Through further consideration of data emanating from the author’s original research into ways in which children are predisposed to learn in approaches to religious education influenced by Jerome Berryman’s Godly Play method, a new disposition has been identified, connecting to life. It comprises three elements—(1) making connections between stories and lived experiences, (2) placing one’s self in the shoes of the Other, and (3) considering one’s own story within a Universal Story. This paper presents excerpts from the original interviews of the research participants that indicate the presence of this disposition among their students. Each of the three elements of connecting to life is also reflected upon through reference to Berryman’s writing, as well as to some pertinent phenomenological literature.

The courts as political players

Courts are political animals; as a result, they strive not only to carry out their assigned role in national governance but also to balance that role within the political and social system in which they operate. Sperling and Cohen offer an elegant, in-depth analysis of how these institutional interests have helped shape decision-making by the Israeli Supreme Court in a health policy context. In doing so, the authors tell a universal story, one with enormous resonance in the U.S.

Demon Antona Rubinsteina - między tradycją zachodnią i rosyjską (analiza wybranych zagadnień)

The article proposes an analysis of The Demon (1875), the only preserved opera by Anton Rubinstein, in two contexts. Firstly, it is a universal story based on fairy tales and related to the Byronic hero and the Western Romantic tradition. Secondly, it is a manifestation of the influence of the Russian national school (Moguczaja Kuczka). Therefore, the article elaborates in detail on the sacred opera (the influence of the French tradition), the function and structure of selected leitmotifs in the construction of the characters (the influence of the German tradition), and the later impact of the opera on Eugene Onegin (1879) by Pyotr Tchaikovsky.

Decentring and rewriting the universal story of humanity: the cosmic historiography of J.M.G. Le Clézio and Michel Serres

ABSTRACTThrough the lens of J.M.G. Le Clézio’s early novel Terra Amata (1967) and Michel Serres’s concept of the ‘Grand Récit’ ‘great story’, the purpose of this essay is to launch a call for the inception of a new interdiscipline tentatively named cosmic historiography. The evident goal of this interdiscipline is to bring scholars from many different backgrounds together in an effort to (re-)conceptualise the historical master narrative and the place of humanity in it. At the advent of the Anthropocene epoch, this thought experiment demonstrates the urgency of decentring and expanding the official version of history to include the entire biotic community of life.

ЖИТТЯ НА ТЕРЕЗАХ ОПОВІДІ: ОСОБЛИВОСТІ НАРАТИВНОЇ СТРАТЕГІЇ РОМАНУ МЕШІ СЕЛІМОВИЧА “ДЕРВІШ І СМЕРТЬ”

Background : “Death and the Dervish” (1966), a novel of the prominent Serbian writer Meša Selimović, has been attracting literary critics’ attention since the moment of its publication. Historians of the 20 th -century literature study it as a sample of existentialist prose in the then Yugoslavian literature, focus on the correlation between fiction and autobiography in this novel as well as analyze it as a novel of the new type and as a novel-parable. 21 st -century researchers consider Selimović’s writings via the prism of contemporary literary theories, assess the novel “Death and the Dervish” in the context of Muslim religion and culture, address to comparative problems that testifies to literary critics’ interest in the further study of the poetical features of this author’s creative heritage. Purpose: The researcher studies specific narrative features in Meša Selimović’s novel “Death and the Dervish”. Having selected the figure of scales as an emblem of the narrative strategy, she explores the functioning of the structure of the text, the system of images, numerous plot reverberations and echoes as a manifestation of the desire for harmony and the search for universal discourse that balances the subjective and the objective, the personal and the universal. Results : In his novel “Death and the Dervish”, Meša Selimović achieved the highest narrative equilibrium: the story of one hero, Ahmed Nurudin, creates an impression of a story about many different people, and numerous stories, experienced by the reader, are perceived as variations of one universal story. The figures of doubling, reflection, echo, “silence place” and the use of allusions create an extremely rich field of senses. The harmony between the mimetic and nonmimetic models of narration, which is achieved by the author, makes the study of his narrative narratives particularly important for 21 st -century literary criticism.

Integracija v švicarsko družbo: primer Meral Kureyshi

Meral Kureyshi živi v Bernu in je bila lani s svojim prvencem, romanom Elefanten im Garten (Sloni na vrtu), nominirana za švicarsko književno nagrado Schweizer Buchpreis. Meral Kureyshi se je rodila leta 1983 v nekdanji Jugoslaviji, v Prizrenu na Kosovu, kot pripadnica turške manjšine in je s starši leta 1992 prišla v Švico. V svojem romanu tematizira univerzalno zgodbo družine, ki je zapustila rodni multikulturni Prizren in se s trebuhom za kruhom podala v Švico. Avtorica v romanu slikovito in neolepšano prikazuje razmere na področju priseljevanja v Švico, ki v njeni »prvi domovini«, na Kosovu, velja za »obljubljeno« deželo, medtem ko je resničnost za priseljence vse prej kot rožnata. Prispevek na podlagi romana obravnava položaj migrantov v tuji deželi in se sprašuje, ali smo sposobni v novih razmerah, v katerih se je v zadnjih letih znašla Evropa, razumeti, da sta različnost in raznolikost ne le nepremostljivi oviri, temveč predvsem izkušnja, ki nas bogati, iz katere se lahko veliko naučimo in ustvarimo strpnejši svet.

Storytelling and One Source Multi Use Strategy of Jumbagi

Jumbagi has substantial exports as the first 3D animation from Korea and can be considered as Killer Contents which have produced a number of derivatives. In this paper, the author intends to analyze the storytelling of Jumbagi and to show that it effectively contributes to the development of OSMU. The planning points of the Jumbagi Content were analyzed and the storytelling strategy that functions among them was analyzed using narrative semiotics methodology. A new genre called 'Faction Documentary' based on the strong response of people for the story was developed. Based on this, Jumbagi has obtained a strong ripple effect by being reborn as a touching animation with a universal story structure. This paper intends to focus on the point that storytelling plays a key role while analyzing the OSMU development strategy of Jumbagi. This study suggests that the storytelling can be used as an efficient tool in the cultural content industry and in marketing. Jumbagi has high story value, and its theme is the family affection that is quite frequently and importantly utilized in Korean popular movies. Moreover, each element of the story, including the plot, characters and space, used to reveal the theme builds a dramatic unity. In other words, it can be determined that Jumbagi has achieved success to be immersed in the emotions of the public, including children, by utilizing the easy and popular storytelling methods.