Version Of Story Research Articles

„Університетський роман” (Campus novel / University Fiction): ґенеза та актуальні параметри жанру

The theoretical paradigm of the genre in the aspect of genesis is considered on the example of the genre variety of the novel, which today is identified as the university novel (campus novel, university fiction). The matrix genre-creating features of the university novel are singled out: problematics, specifics of the plot and personosphere, time-space, ironic narrative, author’s idiostyle. The internal species formations of the campus novel genre are determined by the specific issues and genre specifics of the plot organization – the youth environment, the professor-teaching component of the personosphere, as well as detective, fantastic, etc. the nature of the intrigue. Under the influence of the stylistic practice of a specific direction (for example, realism or postmodernism), the university novel demonstrates the so-called genre metamorphism. The genesis of the genre is traced in the context of its form-content national specificity. On the example of modern campus novels by Ph. Roth “The Human Mark”, Z. Smith “About Beauty”, J. Aldecoa “The Riddle”, A. Orehudo “A moment of rest”, V. Shostak “One Hundred Days Without a Sun”, V. Kalyta “Arkharotsi”, Halyna Babych “Tyuti” and “Professor Shumeiko”, D. Berezina “Faculty” it is concluded that it is the plot that generates and preserves the genre potential of the university novel. The prospects for the functioning of this genre are indicated the appearance of its new fantastic and detective story versions, derived from the total impact of the latest technologies on society (the emergence of new diseases and adaptation to them, the threat of environmental disasters, etc.). Attention is focused on the distinct cultural transgression of the thematic multivariate genre core of the campus novel into such modern art forms as manga, comics, and movies. Taking into account the concept of the genre spiral of N. Kopystyanska, a conclusion is made regarding the genetic evolution of the student novel. Terminologically concretized as an independent genre in the age of postmodernism, this genre is distinguished by the author’s idiostyle and raises social and political problems of a certain country, without losing the established features of the novel. The direct impact of metamodernism on the university novel is predicted, which will generate its deformation and a new cultural format based on the genre-creating potential of the topic.

STRATEGIES USED IN TRANSLATING THE FANTASTIC EVENTS IN VENUS DARI KOTA ILLE

The fantastic (le fantastique) is a literary genre that originated from France, which has a specific characteristic of an ambiguous event that cannot be found in other literary works from other countries that introduce similar genres. This study discusses the translation strategies used to translate these fantastic events in Venus dari Kota Ille, the Indonesian translation version of the fantastic story of La Vénus d'Ille by Mérimée (1837). The objective of this research is to see what strategies the translator use in translating the fantastic events that are present in the French version that contained uncanny elements and whether these elements are preserved in the Indonesian translation. By implementing the theory of translation techniques by Molina & Albir (2002), six translation strategies are found in Venus dari Kota Ille, namely established equivalent, literal translation, modulation, calque, compensation, and amplification. These translation strategies are used to maintain the uncanny element of supernatural creatures in the characteristics of a French fantastic story. In addition, the translator also creates a more intensive sinister element in the target text (TT) by using compensation. These results show that although there are differences in the characteristics of French and Indonesian literary works, these characteristics can still be maintained within the translation. However, this does not guarantee that the translator will not give any additions to the translation to emphasize the message in the TT.KEYWORDS: translation strategies, French fantastic story, La Vénus d’Ille

DIDACTIC NARRATIVE AND THE ART OF SELF-STRENGTHENING: READING THE BAMBOO MANUSCRIPT YUE GONG QI SHI 越公其事

AbstractYue gong qi shi 越公其事 is a recently published manuscript from the Tsinghua University collection. The manuscript provides a new version of the well-known story of King Goujian of Yue 越王句踐 (r. 496–464 b.c.e.), who turned defeat into victory and overcame Yue's formidable rival, the state of Wu 吳. My exploration of this text focuses on its two most notable aspects. First, the story about the policy of self-strengthening allegedly adopted by Goujian offers new insights into the evolution of political thought in the Warring States period. Second, the text allows deeper insight into the genre of didactic historical narratives that became prominent at a certain point of time between the Springs-and-Autumns (Chunqiu 春秋, 770–453 b.c.e.) and the Warring States (Zhanguo 戰國, 453–221 b.c.e.) periods.

Inducing narrative tension in the viewer through suspense, surprise, and curiosity

Research into narrative tension is of interest in terms of the progress of knowledge of the processes and mechanisms by which stories are received and enjoyed. We have created four versions of an audiovisual story with three different structures of fiction (suspense, surprise, curiosity) and one of non-fiction. We have investigated the effects of the narrative tension of these stories with four groups of subjects (N=94). The results show that the organization of the stories, depending on their structures of suspense, surprise, or curiosity, induces narrative tension, while the non-fictional story, induces cognitive and affective effects of another kind. Narrative tension appears during narrative progression. It is manifested by cognitive-affective responses that include anticipations, diagnoses, retrospections, and emotions. In narrative tension, curiosity plays a triggering and organizing role in suspense and surprise. The emotions and cognitions that result from narrative tension during plot construction underpin the experience of enjoyment. The Multidimensional Narrative Tension Theory of Enjoyment that emerges from this research allows establishing connections between narrative theory concerned with narrative progression and plot, the psychology of interest, and the psychology of media enjoyment.

Rhyme over time: Vocabulary learning through daily reading aloud at home with children

There is robust evidence that reading aloud with young children can help them learn new vocabulary. Building upon prior research, this study tested the effects of both book text features and readers’ spontaneous extra-textual word-highlighting strategies on 3- to 4-year-olds’ vocabulary retention from repeated read alouds of a story in their own homes. Parent–child dyads ( n = 30) were provided with either a rhymed or unrhymed version of the same story featuring novel names and illustrations of eight imaginary monsters, along with an audio recorder to take home. Parents recorded reading the book aloud with their child daily for five consecutive days, then children were tested on their monster name recall. Recordings of each dyad’s five progressive read alouds were transcribed, and coded for conversational elements and novel word-highlighting strategies. Findings indicate that children retained the novel monster names with equal success from rhymed and unrhymed books. While individual variation among dyads in their extra-textual commentary was high, each tended to adopt a consistent amount while reading the book across days in both rhymed and unrhymed formats, even as they became more familiar. The one extra-textual vocabulary highlighting behavior during readings that was most predictive of children’s later monster name recall was their own frequency of making guesses of the monster names before they were heard during the read alouds. A close look at the interactions between book format, book familiarity, and the extra-textual commentary around a storybook, and the implications of these interactions for vocabulary building are discussed.

Returns of "The Dead": Paul Muldoon's Adaptations of "The Dead"

The essay discusses two adaptations by Paul Muldoon of Joyce's "The Dead," one unpublished manuscript dating from 1984, and one he co-wrote with his wife, the novelist Jean Hanff Korelitz. As the interrelations between Muldoon's two versions of the short story are traced to the poet's other engagements with Joyce's oeuvre, particularly in his To Ireland, I, the essay seeks to explore the ends to which "The Dead" is put in Muldoon's renditions, which oscillate around the various deployments of political critique. It is argued here that Joyce's allusive-elusive text, in Muldoon's hands, pays increased attention to the central conflicts of modern Irish history.

Human Hubris against Nature in Jack London’s “To Build a Fire”

Jack London (1876-1916) often wrote about nature in the context of literary naturalism, yet it is worth reconsidering his portrayal of the natural environment from an ecocritical perspective. In this endeavor to recontextualize London’s works in relation to ecocriticism, “To Build a Fire” (1902, 1908) may serve as a prominent exemplary text that renders a variety of ecocritical interpretations possible. Set in the frigid boreal landscape of the subarctic region of the Canadian Yukon, the story helps the reader to delve into the notion of human hubris against nature. The protagonist’s arrogance over nature and its constituents leads to a tragic moment in his life. Interestingly, his materialistic and rationalistic attitude toward nature is presented in contrast with the natural instinct of the dog with which he travels and the wisdom of the old man on Sulphur Creek. Also, it is meaningful to examine the two versions of the short story, published six years apart. The two versions reveal a set of intriguing modifications that are worth exploring from an ecocritical angle. (Hanbat National University)

A comparison of linear and interactive fiction on vocabulary acquisition, reading comprehension and engagement.

There are few studies that explore the cognitive and affective benefits of interactive fiction(IF) in language learning and teaching contexts. Inspired by Neville, et al. (2009), we compared the effectiveness of IF in comparison to non-interactive, linear fiction in terms of vocabulary acquisition, reading comprehension and motivation in a university EFL context. Participants (n = 88) were divided into two groups. The control group read a linear story; the experimental group played through an interactive version of the same story. A pre- and post-experiment vocabulary test was employed to measure the acquisition of 16 target vocabulary words. A test based on the actions of characters within the story was also employed to measure reading comprehension. Finally, a post-test questionnaire measured student perceptions of learning with linear and IF. This paper introduces the results of the study which are as follows. Findings revealed no significant difference in scores between the control (linear) and experimental (IF) groups for vocabulary acquisition or reading comprehension. However, an additional analysis of the data was conducted based on learners’ gaming proficiency which revealed that, in comparison to high proficiency gamers, low proficiency gamers found it difficult to control the interactive version of the story. This suggests that students’ level of game literacy may influence perceptions of the system.

Rewriting Maya Religion: Domingo de Vico, K'iche’ Maya Intellectuals, and the “Theologia Indorum.”

Garry Sparks's recent book examines the interreligious encounters in the highland Maya region of Guatemala during the early decades after Spanish contact. In this volume, intended as a companion to The Americas' First Theologies: Early Sources of Post-contact Indigenous Religion (2017), Sparks presents a theological and intertextual analysis of the Theologia Indorum, or the “Theology for and of the Indians,” presumably written in K'iche’ Maya by the Spanish Dominican friar Domingo de Vico. Completed in 1554 and never published, the Theologia Indorum spanned two volumes and over 800 manuscript pages, becoming the first original theology produced in the Americas. Sparks's assiduous theological and linguistic analysis of the remaining fragments from multiple Theologia Indorum copies uncovers its important role in the transmission of Catholic and Maya religions. Sparks argues that to fully understand its impact, it must be evaluated in relation with contemporaneous religious and legal highland Maya texts, especially the Popol Wuj (1554–58) and the Title of Totonicapán (1554). Sparks demonstrates how Vico, literate K'iche’ Maya intellectuals, and later mendicant priests learned and borrowed from each other to reconfigure highland Maya religious theology.Through careful evaluation of Vico's understudied work and a broader corpus of K'iche’ Maya texts, Sparks focuses on the challenges of translation and the commensurability of ideas between Hispano-Catholic and K'iche’ Maya worldviews. Sparks highlights the diversity of Catholicism in early modern Iberia, which had to be reconciled into the highly localized contexts of the Americas. While Vico's Franciscan counterparts used either Latin or Spanish to present key topics, Vico relied instead on Indigenous terms. Sparks explains Vico's use of K'iche’ Maya linguistic ideology and moral anthropology as evidence of his training in scholastic Thomism, which emphasized the importance of language and the value of analogical reasoning (chapter 2). While the Theologia Indorum was designed for Maya conversion to Catholicism, Vico did not view the two religions as incompatible, nor did he rule out a “mixture of Catholic theology and indigenous culture” in creating the manuscript (p. 162).Sparks traces how Vico and highland Maya intellectuals such as Diego Reynoso reconciled their religions and used Maya terms and images to establish analogies for Catholic concepts. To do so, the volume's first of three parts establishes the “Old World” backgrounds of the highland Maya and Iberian mendicants. Vico's life and work are carefully evaluated in part 2, which provides background on Vico (chapter 3), discusses the Theologia Indorum's structure and creation (chapter 4), and explains his theological method (chapter 5). Through impressive linguistic analysis, Sparks examines how Vico adeptly utilized both the high register (language for ritual speech and elders) and low register (quotidian speech) of K'iche’ Mayan in the Theologia Indorum. By balancing high and quotidian speech and drawing on Maya knowledge, Vico constructed a text that accommodated Maya culture and religiosity. Transcribed or translated over 18 times, the Theologia Indorum became a foundational text in the region, as it was mentioned implicitly or explicitly in many contemporaneous highland Maya writings.In the same way that Vico accommodated Maya religiosity in his work, Sparks reveals how the K'iche’ Maya authors accommodated Vico, as the Theologia Indorum often became synonymous with Christianity in their writings. Part 3 assesses the Theologia Indorum's impact via expert intertextual analysis of contemporaneous K'iche’- and other Mayan-language texts, including the Popol Wuj (chapter 6), the Title of Totonicapán (chapter 7), and other legal writings (chapter 8). Sparks defines these diverse manuscripts as theologies that reveal the various levels of engagement with and responses to the Theologia Indorum by Maya intellectuals. The Title of Totonicapán's authors, for example, took a more conciliatory approach to the Theologia Indorum while also redacting, rather than merely copying, the manuscript in their work. In contrast, the authors of the Popol Wuj presented a slight resistance to Vico by portraying the Theologia Indorum as an “incomplete and deficient” version of the creation story and Maya ancient truths offered by the Popol Wuj (p. 198). Later sixteenth-century writings, however, increasingly saw the Theologia Indorum as an authoritative text and as “truth of God” (p. 297).Sparks's latest work reflects his mastery of the K'iche’ language and offers a welcome addition to the fields of religious studies, ethnohistory, and Maya linguistics. The book contains extensive footnotes and charts comparing the intertextual analysis of the various manuscripts, including a useful “Maya and mendicant intertextual reception history” chart (p. 287). The inclusion of maps could have helped situate readers and further illustrate aspects of the argument, such as the emphasis on locality and the geographical influence of the Theologia Indorum. This is a fascinating, detailed, and insightful work that will be of particular interest to a scholarly audience, as it deepens our knowledge of understudied highland Maya writings and the early evangelization process in Guatemala.

‘The household snake’: Detection and eradication of pests in the home by means of snakes, as reflected in Talmudic sources

AbstractLiterary sources of the classical era (first-fifth centuries), both Greco-Roman and Jewish, indicate that snakes were used for different purposes, such as for medicine, as raw materials for manufacturing objects, and as pets. This article discusses the use of snakes to deal with pests in the ancient homes as reflected in the Talmudic sources as well as in classical literature. The Jerusalem Talmud (Yerushalmi) brings a story of how a house snake helped a family locate a wild snake that entered the house and left its venom in the food. The impression is that the origin of the story is from a non-Jewish environment, and not necessarily from Eretz Israel. It is not impossible that the story is one version of stories about Aesculapian snakes that helped exterminate and drive away pests, as related by Pliny. This narrative variation was absorbed by the sages from their own non-Jewish environment, who adapted the story to the religious-educational messages that they sought to convey. It seems that the practice of using snakes to exterminate domestic pests was relatively limited and less common than that of small predators, such as cats, mongooses or weasels.

Reading Solomon with Three Eyes Open

ABSTRACT Hiram and the Queen of Sheba are stable, but Pharaoh’s daughter moves around the ancient versions of the biblical story of Solomon. Kings (LXX) reports the Ark entering the temple more briefly than Kings (MT) or Chronicles. Teasing out how three accounts of temple-building were themselves constructed is more complex. In each case, Kings (MT) represents the most developed form of the tradition.

From Titus n’aimait pas Bérénice

From Titus n’aimait pas Bérénice NATHALIE AZOULAI Selected and translated by Benjamin Eldon Stevens Translator’s Preface Nathalie Azoulai’s 2015 novel, Titus n’aimait pas Bérénice, tells three stories, or perhaps, as in the eyes of two of the main characters, three versions of the same story, keeping the personae but changing the players and adding an important action to the drama. The longest story is a life of 17th-century French playwright Jean Racine. Racine’s story is told through its discovery by a 21st-century woman, Bérénice, who assuages her heartbreak from a jilting lover, Titus, by reading Racine’s plays, including the eponymous Bérénice (1670). Struck by the coincidence, 21st-century Bérénice reads back through her 17th-century namesake to ancient Bérénice, 1st-century queen of Roman Judaea and, briefly, beloved of the future emperor Titus (39-81ce). In the Latin of Azoulai’s epigraph, drawn from the Roman historian Suetonius: Titus reginam Berenicem statim ab Urbe dimisit invitus invitam, “Titus immediately dismissed queen Bérénice from the City, he unwillingly, she unwilling” (my translation). Thus ancient Roman history, already transformed by Racine into “classical ” French play, is remade by Azoulai into an illuminatingly imperfect mirror for a love-affair in the present day, with one dramatic difference: Bérénice learns that Titus is on his deathbed, a chance to put old ghosts to rest—or, as she puts it, to “let him croak!” Azoulai manages all this beautifully, drawing out parallels—and suggesting departures—through scenes in which modern Bérénice’s experience recalls not her historical namesake’s but that of Racine’s character. Hopeful and despairing, counterfactual and palpably real, such moments coalesce into Bérénice’s attempt to regain authorship of her own story—an authorship echoed in Azoulai’s prose, as images and turns of phrase link 17th and 21st centuries in writing. To try to capture all of that, in this selection I translate three excerpts: Racine’s decision to write Bérénice; modern Bérénice’s visit to Titus on his death-bed; and Racine’s literary success and appointment in the court of Louis XIV, concluding with the central idea that, as arion 29.3 winter 2022 58 from titus n’aimait pas bérénice Azoulai’s Racine puts it, a life “has need of unity,” i.e., classical unity as per Aristotle’s Poetics, so as to be “like a play.” My many thanks to Arion’s editors, from whose comments I benefited greatly, and un grand merci to Jenny Catchings for sensitive suggestions on the final draft. [170–173: In 1670, Jean Racine (1639–1699), starts to write his tragedy Bérénice] Marie lets him know that Corneille is writing the story of Titus and Bérénice. Jean doesn’t hesitate for a second. He drops what he has started, immerses himself in Suetonius. He will mount his own version of the story, to take his measure directly, once and for all. Titus who loved Bérénice passionately , and who, so far as people believed, had even promised to marry her, sent her away from Rome, despite himself and despite her, in the first days of his Empire. Suetonius does not say exactly that. Jean has simplified, erased a whole paragraph about the tumultuous floods that beset the young man, for whom bettering himself would mean separating from Bérénice. Jean wants none of that folderol, none of that moralizing mummery. He wants a separation that is pure and hard, that cuts into the living flesh of love. After several weeks, he has a structure for the whole of it, slow and circular. Everything will lead to the announcement of Titus’ decision, the event both avowed and deferred. Beforehand, a plaintive waiting, then an instant of perfect happiness—furtive, dazzling—a mirage of crystal in the black night. Of this night, Phoenix, have you seen the splendor: the light voice of Bérénice, happy, fulfilled, just a moment, so perfectly fulfilled that she will confuse happiness and credulity, fullness and vertigo...

Jón Árnason and Gríshildur the good. How the editor changed one woman’s narrative about another woman

In 1864, an Icelandic folktale, Sagan af Gríshildi góðu (the Story of Gríshildur the Good) was published in print for the first time, in Jón Árnason andd Guðbrandur Vigfússon’s folktale collection. The story, a version of the famous story of the Patient Griselda, has its roots in Boccaccio’s Decamerone from c. 1350, which Petrarch rewrote in Latin in 1373, so that it became widespread in European literary circles during the next centuries. The story reaches Iceland c. 1600 and became relatively popular, as at least 18 different versions of the story exist in Icelandic, both in prose and verse, preserved in 52 manuscripts, in addition to the few that have been published in print. When the folktale collection was republished in the 1950s, it included two Griselda folktales, the one from 1864, and also, a shorter, previously unpublished tale, which appeared in volume 5 in 1958. Upon a closer inspection, it turns out that both tales go back to the same handwritten tale in Jón Árnason’s folktale manuscript, Lbs 533 4to, written by Ragnhildur Guðmundsdóttir (fol. 176r–78r). In fact, the 1864 edition is Jón Árnason’s own rewriting of the tale (also preserved in Lbs 533 4to, fol. 220r–23r) while the one from 1958 presents Ragnhildur’s original version. The article attempts to analyse and explain the changes Jón Árnason makes to Ragnhildur’s story, in addition to present the folktalee's influence on later literary works. The main results of the study is that Jón mainly makes three types of changes. Firstly, he embellishes segments where Ragnhildur’s narrative is short and without many details. Secondly, he changes back to the Boccaccio/Petrarch tradition some details which have been spoiled by orality, for instance, by returning the number of Griselda’s children from the folktale traditional three, to Boccaccio/Petrarch’s original two. Jón also removes connections to other narrative traditions, when he makes Ragnhildur’s King Artus (Arthur) nameless. Thirdly, Jón seems to be influenced by the same misogyny as his contemporary colleagues in Europe, when he increases the power of the king and other male characters at the cost of female ones. With his changes, Jón actually created a new version of the Griselda story, so further research into the story’s intertextuality and development must treat his version as an independent text, different from the one written by Ragnhildur.

Легенды народной агиографии о Николае Чудотворце и их сибирские записи: Чудесная молотьба

In the oral tradition of the Eastern Slavs, stories about miraculous threshing with fire are well known (AaTh 752A, SUS 752A). Folk hagiography often associates with the name of St. Nicholas the Miracle-Worker. The article presents the results of a study of Siberian texts of such legends (including folk prose plots not taken into account by the indexes) in comparison with variants of similar narratives of the European territory of historical Russia. It was found that, along with the plot forms common to the East Slavic tradition, Siberian texts contain special versions of this plot, which are the result of contamination and mixing of folklore forms in the conditions of Siberian existence. Unknown in the texts of other territories, the contaminated versions of the Siberian stories about the miraculous threshing acquire special interest against the background of the fact that the Siberian versions of Russian fairy tales, as researchers have established, generally have a strong tendency to plot contamination and the complexity of the stories. Previously, these processes were traced on the material of fairy tales (Matveeva, 1990) and novelistic tales (Kuznetsova, 2019). The Siberian variants of contaminated plot forms of legendary fairy tales presented in the article make it possible to consider contamination as an increasingly universal creative device in Siberian storytelling.

Expression of manner-of-motion verbs in translated versions of Turkish and English Short Stories: Implications for second language acquisition

Expression of manner-of-motion verbs in translated versions of Turkish and English Short Stories: Implications for second language acquisition

Голгофа

The article is dedicated to the subject of the crucifixion in Russian lyric poetry of 19th–21st centuries. It studies five poems that present different images of Calvary. Analyzing A.S. Pushkin’s “Worldly power” we discover a lexical connection of the poem to prayers and liturgical texts. The poem “When rowan leaves are dank and rusting…” by A.A. Blok requires consideration from two angles: among his other Christological poems and in the light of a general among symbologists tendency of eroticizing Christian images. We demonstrate that the subject of co-crucifixion is natural for Blok, that it was slowly emerging in his lyric poetry of the 1900s. The article analyzes O.E. Mandelstam’s poem “The implacable words…” in the context of his lyric poetry of the 1910s, as well as in comparison to the later variation of the image (“Like chiaroscuro’s martyr Rembrandt…”). The research reveals “maternal projection” of the subject of Calvary on the example of the poem “Mother” by V.V. Nabokov, passages from A.A. Akhmatova’s poem "Requiem” and I.A. Brodsky's poem “Still-life.” El.A Shvarts’s poem “Rembrandt’s etching — Christ and the thieves” represents ekphrastic versions of the biblical story.

Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism by Schneur Zalman Newfield, and: Hidden Heretics: Jewish Doubt in the Digital Age by Ayala Fader

Reviewed by: Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism by Schneur Zalman Newfield, and: Hidden Heretics: Jewish Doubt in the Digital Age by Ayala Fader Michal Raucher (bio) Schneur Zalman Newfield, Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism. Philadelphia: Temple University Press, 2020. 228 pp. Hardcover $99.50, paperback $34.95, eBook $34.95. ISBN: 9781439918951, 9781439918968, 9781439918975. Ayala Fader, Hidden Heretics: Jewish Doubt in the Digital Age. Princeton: Princeton University Press, 2020. 288 pp. Hardcover $29.95, paperback $19.95. ISBN: 9780691169903, 9780691234489. In the Spring of 2020, Netflix released UnOrthodox, the dramatic retelling of Deborah Feldman's exit from Hasidic Brooklyn. In a matter of weeks, Esty, played by Shira Haas (who has been nominated for a Golden Globe for this role), left her family, her home, her religious observance, her wig, and her clothing as she became an ostensibly secular woman in Berlin. This version of Feldman's story obfuscates the years that she spent trying to live within a religious context, despite her misgivings, and as such, the Netflix version reinforces a popular image of leaving a religious community as both abrupt and final. In two recent books, Ayala Fader and Schneur Zalman Newfield present meticulous social science research that complicates the dominant understandings about those who leave ultra-Orthodox Judaism. Fader and Newfield present nuanced characterizations of their research subjects and about the many ways people struggle with their religious identity. Degrees of Separation draws on interviews with 74 Hasidic ultra-Orthodox Jews who have left their religious communities. Newfield uses the term "exiters," or often refers to his research subjects by the religious affiliation of their youth: Lubavitch or Satmar. These terms reflect Newfield's broader claims about exiting as a process that is ongoing and religious identity as being constantly renegotiated. He writes, "Exiting is an ongoing process of becoming" (4). Elsewhere he refers to exiting as "residing in a liminal state for a prolonged period of time" (30). In Hidden Heretics, Fader presents an ethnographic account of 24 "double lifers," those who practice ultra-Orthodoxy in public (and at home) but violate commandments in secret due to their doubt about the veracity of the religious claims that underlie them. Fader focuses on individuals who have experienced "life changing doubt" but remain significantly tied to their ultra-Orthodox community. These individuals refer to themselves as "hidden heretics," which leads to the title of [End Page 99] Fader's book and reflects their own attempts to keep their double lives secret from their families and their communities (2). Taken together, Newfield and Fader demonstrate that religious identity is not a clear category that can be easily discarded. While one might be tempted to see these two books as existing along a continuum of leaving a religious community, Fader and Newfield reject any classification that indicates an evolution among their research subjects toward secularization. Fader explains that for those in her book, "there were more incremental changes over the years, a process of making ethical compromises … but ultimately remaining in their ultra-Orthodox communities" (14). Fader brilliantly traces how double-lifers are simultaneously engaged with the ultra-Orthodox and secular worlds. First, a young man or woman (often a man, married with a few young children) might begin to question some of the tenets of their religious faith. With access to the internet through a smartphone or a computer, that individual can find the Jewish blogosphere. Fader explains that, beginning in 2002–2003, the Jblogosphere "gave anonymous public voice to a range of private, interior life-changing doubt" (32). These blogs are produced by other hidden heretics who use familiar language and concepts while producing an ultra-Orthodox counterpublic, ultimately threatening rabbinic authority offline. Someone experiencing doubt may comment on these blogs and eventually move over to private Facebook or Whatsapp groups. Hiding behind profile pictures that obscure their true identities but indicate a shift away from ultra-Orthodox norms of facial hair or hair covering, an individual experiencing life-changing doubt may ultimately begin meeting others who share their concerns. Fader's rich ethnographic research allows readers to see how these individuals gather with each other at a...

Новая история Птолемея Хенна (Phot. Bibl. 190).

Ptolemy Chennus is a poorly known Roman author who wrote in Greek and lived in the late 1st — beginning of 2nd century ad. His works are enumerated in the corresponding article from the Byzantine encyclopedia Suda: a collection of Paradoxical stories, a historical drama Sphinx, and an epic entitled Anthomerus; his only extant work is the Novel History, probably another title of Ptolemy’s aforementioned paradoxographical collection, which has been preserved as an epitome in the Bibliotheca of Patriarch Photius (c. 810/820–893). By his professional pursuits, apparently initiated in his native Alexandria, Ptolemy is defined as grammaticus, i.e. classical scholar, and the classics in his time were centered primarily on Homer; the tendency to thwart this great authority is evident throughout the Novel History which is teeming with a mass of blatantly unorthodox versions of various mythological stories going back to Homer. It is this unorthodoxy that the compiler of the epitome finds attractive, though unfortunately a mere summary forestalls the possibility to savour the presumed stylistic complexity of the work, as well as to form a well-grounded judgement on how serious was its author’s attitude to the fibs he tells, or on how close these fanciful rehashes came to a deliberate parody; still, it almost seems certain that the original text was truly rich in playfulness, irony, and burgeoning imagination. The publication presents the first full Russian translation of the work, accompanied with sufficiently detailed commentary, paying special attention to Eustathius’ of Thessalonica (c. 1115–1195/6) Commentaria to Homeric poems, the only literary source where some few parallels to the wildly unconventional data provided by Ptolemy may be found.

Dreamworlds, Storyworlds: Narrative Proliferation and the Case of Stjörnu-Odda draumr

Dreamworlds, Storyworlds: Narrative Proliferation and the Case of <i>Stjörnu-Odda draumr</i>

Moroccan Hercynian history : another version of the story

Moroccan Hercynian history : another version of the story