Story Writer Research Articles

L. Ukrainka – M. Lysenko’s «Oriental melody»: specifics of recreation of Oriental imagery

Statement of the problem. The article analyzes the ways of recreating oriental features in the song “Oriental Melody” (“Skhidna melodiia”) by Ukrainian composer Mykola Lysenko, based on a poem by Ukrainian poetess, playwright, short story writer Lesia Ukrainka. This song, or “solospiv”, as Lysenko called his vocal and piano works, was created in the last period of the composer’s work, when, working in this genre, he began to use poems by modern Ukrainian poets, including Lesia Ukrainka. This fact most likely caused some changes in the style of these works in comparison with Lysenko’s more traditional early works. “Oriental melody” has not been previously studied by musicologists, so this article conducts its composition analysis in order to understand its structure and ways of interpreting the poetic text The purpose of the study is to identify the specific embodiment of oriental features in the musical language of the song. Results and conclusions. Lesia Ukrainka’s poem “Oriental Melody” from her second Crimean cycle “Crimean Echoes” (“Krymski vidhuky”) is a love poem, in which oriental images are interspersed with exotic landscapes of the Crimea. The composer strives to follow the structure of the poem, which led to the creation of a five-part composition with a variational repetition of the first part at the very end. The article reveals that Lysenko’s “Oriental Melody” contains a number of well-established ways for Western European music to recreate the oriental image. In addition, the song contains features of recitative, sometimes giving the impression of a theatrical monologue. Lysenko often changes the meter, avoids repetition in rhythmic structures, using complex rhythms and seeks for through-composed type of composition. The lack of scholars’ attention to the song “Oriental Melody” can be explained by the dominance of the folklore paradigm in the studies of Lysenko’s music, which doesn’t focus on oriental themes. However, it is interesting how exactly this song became a meeting place for two different worldviews. Lesia Ukrainka was one of the brightest Ukrainian modernist writers, and Mykola Lysenko, who is considered the founder of the Ukrainian national school of composers, created his music in the style of late romanticism. Thus, although the oriental scenery of the song is recreated by a number of clichés, the sincerity of the protagonist is indisputable, and the work as a whole has its own artistic value.

The Social Change Represented in the Psychology of Women Characters Portrayed by S. Ramakrishnan

Tamil society is considered to be one of the oldest societies. Various problems like caste and economic inequalities along with gender differences exist in this society. Among these, gender inequality serves as a subject of debate till date. In society, women are not treated equally. In areas such as education, employment and marriage, women are treated poorly as compared to men. This inequality appears in different manners at different stages in time. Contemporary literature is written to show antagonism to this inequality. Particularly, short stories play a vital role in delineating these differences. Short story writer S. Ramakrishnan has given centre stage to the day-to-day problems faced by women in his short stories. The female characters portrayed in his stories struggle to establish their equality in spite of the troubles life throws at them. From his collection of short stories named Avalathu Veedu, two stories Avalathu Veedu and Embaavai are taken as primary sources for this research article. This article analyses the psychology of two female characters, Agalya and Nanmathi, who represent the main characters of the selected short stories. The social change represented from their psychological characteristics is also discussed. The principles of psychological defence mechanism is used to analyse the characteristics of these female characters.

“Interspecies Empathy and Canine Captivity in Karen Russell’s Short Fiction”

ABSTRACT This essay examines the contributions of American short story writer Karen Russell to debates in Critical Animal Studies and philosophy about the ethics of animal domestication. Russell’s fabulist stories have often been interpreted through a speciesist lens, ignoring her representation of nonhuman animal consciousness. Although humanist critics have interpreted Russell’s animal subjects as allegories for systems of human oppression, I read her work as a critique of anthropocentrism and human exceptionalism. I analyze “St. Lucy’s Home for Girls Raised by Wolves” and “Madame Bovary’s Greyhound,” two stories that focus on the oldest domesticated animal species and the one that remains the most entangled with humanity – the domesticated dog, a descendent of the wild wolf. Featuring female protagonists who are dogs or wolf/human hybrids, these stories engage with ecofeminist and posthumanist arguments about the intersectionality of animal subjugation and the exploitation of women and disempowered racial groups. Echoing recent scientific studies of canine cognition and behavior, Karen Russell’s stories represent dogs as a domesticated species whose animal instincts have been routinely thwarted. While most people consider dogs to be a fortunate species, Russell’s canine stories defamiliarize the relationship between humans and dogs to invite cross-species empathy and ethical reflection about pet-keeping practices.

Fiction Writing by Farida Hafeez

Fareeda hafeez is considered one of the top modern story writers of 07's. In her literary life, Fareeda has seen and felt real life in all of its manifestations. That's why all of her literary achievements abound in beauty and decency as well as the heart rending aspects, incidents and realities that have been depicted in formal style. When describing these things, her style deviates from conventional course and turns forceful and eloquent. Exclusively, when she displays the horrible face of social discrepancies, communal disequilibrium and injustices, her style faithfully shows her strong emotional reaction against them. Apart from this, she truly represents the rights and emotions of the down- trodden and miserable people. Fareeda Hafeez had dedicated her entire life to journalism and the service of nation. She strongly felt the communal conflict and injuries scattered all around and this realization is hidden in her writings. In the world of journalism and literature, Fareeda Hafeez's name is self-introductory. She was not only a remarkable literary figure but also an outstanding columnist and prose writer. Her literary achievements are often received with deep interest.

STUDY OF GULZAR'S LEGENDARY STYLE

The short story is an important part of Urdu literature and dealt with a wide range of life dimensions, but most short stories of Gulzar concern the trauma of the partition of the subcontinent in 1947. He critically observed these incidents by himself so the violence generated as a result of this partition leaves a deep impact on him. No doubt he is a live legend and a great writer, his writings gained momentum with the phenomenal narration which is full of expressions, feelings, emotions and questions about the politics and political leaders of that time. Gulzar is a perfect story writer by his charismatic and unique style. This article reveals and examines the artistic aspects of his literary craftsmanship with a special reference to his contribution not only in the field of literature but to history and politics as well.

Muhammed Said er-Reyhânî’nin “Yazarın Ölümü” Adlı Hikâye Koleksiyonunda Ölüm Teması

Modern Arap edebiyatı ile ilgili çalışmalarda Mısır, Suriye ve Irak edebi canlılığa ve ilmi kalkınmaya sahne olurken Fas edebiyatı yeni fikri akımlardan uzakta kalarak klasik Arap edebiyatına bağlı kalmıştır. Modern Fas edebiyatında Arap Edebiyatında ortaya çıkan ve gelişen yeni edebî türlerin geç başladığı görülür. Bunun sonucunda da yazarlar hata ve tecrübesizlik dolu bir süreçten geçerek, gerçek bir hikâye sanatına ulaşana kadar uzun zaman harcamalarına ve büyük mücadele vermelerine neden olmuştur. Fas’ta yeni hikâye 20. yüzyılın başlarında Ebû Şuayb ed-Dükâlî, İbn Şakrûn, Muhammed Gırrîd ve Muhammed Mûsâ gibi şahsiyetlerin makâme taklidi eserleriyle başlamıştır. Fas kısa öyküsünün gecikmesinde etken olarak birtakım faktörler bulunmaktadır. Fransız işgalinin, öykünün geç ortaya çıkmasında ve gelişmesinde büyük etkisi vardır. Faslı öykü yazarı Muhammed Said er-Reyhânî çeviri, iletişim ve gazetecilik alanında yüksek lisans derecesi, yazarlık alanında yüksek lisans derecesi ve İngiliz Edebiyatı alanında lisans derecesi almıştır. 2008'den beri "Fas Yazarlar Birliği" üyesidir. Reyhânî, Edebiyat konularında araştırmacı olmasının yanı sıra, yazarlık alanında da çalışmalar yapmıştır. Yazarın Ölümü adlı eseri daha önce kaleme almış olduğu Sabahı Beklerken ve Herhangi bir Yere Göç Mevsimi adlı öykü koleksiyonunun üçüncüsüdür. Eser 2010 yılında yayımlanmıştır. Yazar öykülerini oluştururken tek tek metinler olarak değil, bir hikâye grubu olarak yazmıştır. Diğer öykü koleksiyonunda bütün temaların aynı olduğu gibi bu koleksiyonundaki bütün hikâyelerinde tema aynıdır ve o da ölümdür. Reyhânî’nin Mevtü’l Müellif (Yazarın Ölümü) adlı bu eseri ölüm temasının farklı şekillerde ele alındığı on hikâye koleksiyonundan oluşan bir öykü kitabıdır. İlk olarak öykü koleksiyonu için bir başlık düşünen Reyhânî; bir çalışma alanı içinde yeniden üretilen tüm metinlerin bu başlıklarının etrafında toplandığı merkezi bir konu olduğunu ifade eder. Diğer koleksiyonlarında benimsediği bu tarz Yazarın Ölümü adlı bu öyküde de ana tema "son, ölüm ve kurtuluş" gibi başlıklar olarak görülmektedir. Yazar, Bir Umursamazlık Hâli öyküsünde güvenliğin ve dayanışmanın olmadığı toplumlarda ölümün istediğini, istediği zaman ve şekilde seçeceğini anlatır. Bütün Hayatımız Rahat İçin ve Bütün Ölümümüz Endişe İçin öyküsünde yaşam ve ölüm kavramlarını tersine çevirmiştir. Bir Zehirlenme Durumu zehirlenme ve ölümle cezalandırma hakkında kaleme aldığı öyküsüdür. Ölülerinizi Hayırla Anın öyküsünde zalim rejimde hükümdarın cenaze törenini anlatmıştır. Ölüm Döşeğinde öyküsünde ölümün son anlarını betimlemiştir. En Kötü Esirin En Kötü Sonu öyküsünde şerefli bir ölüm dersine ihtiyacı olan bir esirin, bütün onurunu kaybetmiş halde ölümü isteyecek kadar ölümün kendisi için yavaş olduğu durumu ele almıştır. Hayat Ölülerin İstediği Gibi, yazar bu öyküsünde insan yaşamındaki onurun eksenine ölümü koyar. İmparatorların Tarzında Ölüm öyküsünü intihar anındaki bir kişinin ölümünün hangi yolla olacağını seçimindeki düşünceleri ile oluşturmuştur. Beni Öldüren, Ben Hâlâ Hayattayım öyküsünde gerçekte yaşanmış bir olaydan hareketle siyâsî süikastın imkânsızlığını ortaya koymuştur. Yazarın Ölümü adlı öyküsünde Fransız yazar Barthes’in öykü anlayışından etkilenmiş olmasının sonucu olarak öyküden yazarı çekip okuyucuyu öykü ile baş başa bıraktığı bu son öyküsünde yazar gerçekten de ölmüştür ve yalnızca okur vardır.

13. Lamp Post” a new reading''

Rasheed Amjad is famous short story writer , one of superior quality of his creative art is symbolism and abstraction. " Lamp Post" is one of renowned short story of Rasheed Amjad which unfolds numerous dimensions of life. The predominant theme of the above mentioned story is the increasing trend of materialistism in society which has not only deprived modern man from dear ones at the same time it's severity has made man machine like item unmindful about sense and sensibility of life and it's belongs. This research article is an effort to highlight the art of Rasheed Amjad and different themes of the short story " Lamp Post".

Stories and storytelling of Selim Sırrı Tarcan

Selim Sırrı Tarcan [1874-1957]; Osmanlı Devleti’nin son döneminden Cumhuriyete uzanan hayatında asker, eğitimci, sporcu ve milletvekili olarak görev yapmış çok yönlü bir kişiliktir. Onun bilhassa beden terbiyesi ve spor alanındaki faaliyetleri, zeybek oyunlarına yönelik araştırma, inceleme ve derleme çalışmaları ülke çapında tanınmasını sağlamıştır. Selim Sırrı’nın dikkat çeken bir diğer yönü yazar kimliğidir. Hizmet gazetesinde Fransızca eserlerden kısa pasajlar tercüme ederek yazarlığa ilk adımını atan Selim Sırrı, döneminin gazete ve dergilerinde yazmış, ömrü boyunca altmış kitaba imza atmıştır. Küçük yaştan itibaren sanata meyilli bir kişiliği olan Selim Sırrı’nın öğretici nitelikteki kitaplarının yanında iki hikâye kitabı vardır. Kitaplarından ilki yirmi beş kısa hikâyeden oluşan Kahkaha Sultan [1923], diğeri yirmi altı hikâyenin toplandığı Olmuş Şeyler [1949]’dir. Selim Sırrı, ilk hikâye kitabındaki on sekiz hikâyesini küçük çaplı değişiklikler yaparak ikinci kitabına aktarmıştır. Tekrar yayımlar göz ardı edildiğinde yazarın toplamda otuz iki hikâyesiyle karşılaşılmıştır. Bu çalışmanın amacı, Selim Sırrı’nın hikâyeciliğini değerlendirmek, hikâyelerinin Türk edebiyatındaki yeri ve önemini belirlemektir. Çalışma kapsamında yazarın kitaplaşmış hikâyeleri muhteva, yapı, dil ve anlatım başlıkları altında incelenmiştir. Çalışma sonucunda Selim Sırrı’nın Cumhuriyet dönemi hikâye yazarı olarak, II. Abdülhamid ve II. Meşrutiyet dönemlerinde İstanbul’daki sıradan insanların hayatlarına odaklandığı, realist bakış açısıyla gözleme dayalı gerçek hayat sahneleri sunduğu görülmüştür. Çalışma, yaşadığı dönemde meslek hayatı ve öğretici kitaplarıyla ön plana çıkmış bir şahsiyeti hikâyeciliğiyle tanıtması yönüyle edebiyat tarihine katkı sağlayacaktır.

Smell and echo of death in the stories of Madhavkkutty

Madhavkkutty was a Malayalam story writer who had caused to extended and expand the frontiers of vision of the readers through diverse experiences. She searched for only those things which made life worth living. Her creations were the reflections of such inquiry. The motivating force which led her life forward was love. The writings of Madhavkkutty were bound by love to an extent that such a condition was revealed. Several writers have presented death in poetry romantically, symbolically, and mystically. But, only very few writers have portrayed death invoking it as a character and developing it properly. Madhavkkutty a is one such writer. In her stories, Madhavkkutty portrayed Death concerning the sensual experiences of colour, smell, and sound (N.B-Kamala Das was known in the Malayalam Literary world as Madhavikutty, so in this Essay, I used her name Madhavkkutty)

A Library of One's Own

A Library of One's Own

Procedural generation of branching quests for games

The production of high-quality digital games usually requires a few hundred individuals, including designers, artists, and story writers. Currently, development teams are increasingly applying procedural content generation techniques to reduce their work overload. However, there is a lack of methods to handle the procedural generation of branching quests that can support the richness of the digital games’ mutable and highly interactive virtual worlds. The challenges to maintaining a rich and coherent game narrative are enormous. In this work, we present a novel procedural quest generation method that can produce coherent quests with branching storylines for dynamic and interactive game worlds. By combining automated planning with a genetic algorithm guided by story arcs, the proposed method can generate coherent branching quests based on a narrative structure. Preliminary results show that the branching quests created with our approach are nearly at par with those made by professional game designers.

On Eider Rodriguez’s Fiction: Gender, Anger, and (Basque) Politics

The work of Basque short story writer Eider Rodriguez (Errenteria, 1977) has garnered remarkable acclaim from contemporary critics and readers alike. In the realm of Basque literature—which often rolls into the common sea of politics and/or sentimentality—Rodriguez’s stories slickly swim their way between both waters; and fly inland as the Basque witches’ old saying goes, “sasi guztien gainetik, hodei guztien azpitik” [above all bushes, beneath all clouds]. Awarded with the Basque National Literature Prize in 2018, Rodriguez is the author of four short story collections: Eta handik gutxira gaur (Susa 2004), Haragia (Susa 2007), Katu jendea (Elkar 2010), Bihotz handiegia (Susa 2017) and the title of her first novel Erainkuntzarako Materiala (Susa 2021). Without resorting to the apparel of great events, Rodriguez’s bare sketches explore the everyday, small world of unnamed cities, in small circles from family to local ambiance. Plainly focused on such a microcosm, the author portrays a nuanced milieu of pervasive violence within the interactions of her characters with families, neighbors, friends, lovers, and—none the least—themselves. Bereft of any political correctness, Rodriguez represents a rich universe of frustrated, bored, fearful, and angry characters (Gabilondo 2019). This article examines the author’s fictional world of ubiquitous anger and resentment and explores the origin and scope of such violence by interpreting it as a metaphor of the personal and social anxieties triggered by politics in the—allegedly peaceful—contemporary Basque Country.

The Arabic Novel in Jordan: Origin and Development

Literature is the art of language. Through the mighty instrument of language, human being can change their environment. They can communicate realistic information and pass this information on to succeeding generations who can obtain the benefits of this knowledge and experience of the past. They can convey thoughts and emotional experiences through the written word and do so aesthetically satisfyingly to them and in an artistic form. To make it meaningful to their readers, they not only record but contemplate and interpret the experience. Jordan has been the centre of learning and abode of knowledge seekers since ancient times. The land of Jordan is very rich in imparting knowledge and education. It produces great scholars, novelists, short story writers, critics, jurists and thinkers and prominent writers; it has been an intellectual centre of the Arab World for a long time. The Jordanian Novelist's themes always have quite an impact on readers and bring them recognition.
 This research paper handles the vision and, along with of Jordanian novel, to explore the development of the novel, its new and various features, and to clarify the identity of the place within its models. The paper also discusses the reality between the silence of Tough and the openness of creativity and what affects it from the constraints of excess and silence. Furthermore, the paper examines its status alongside the Arabic novel and its manifestations of experimentation. To achieve its goals, the research draws upon the historical approach, benefiting from the descriptive perspective. The research concluded that the Jordanian novel was able, throughout its history, to acquire its identity and particularity to shape its new and various characterizations and embody the Jordanian reality in its different manifestations and varied issues. In addition to that, the Jordanian novel contributed to the consolidation of writing the Jordanian Novelist as unique literary art, creating a distinct Jordanian novelist writing incarnates national privacy in form and substance.

Only anecdotal: Diane Williams, loneliness and short story form

Traditionally, the short story has been understood as almost synonymous with loneliness, characterized by theorists and writers like Frank O’Connor as the quintessential ‘lonely form’. Contemporary short story writer Diane Williams stands out for her idiosyncratic challenge to the conventions of short story structure, drawing deliberately on the partiality and contingency of the anecdote. Analysing the structure and style of collection Fine, Fine, Fine, Fine, Fine, this article explores how a turn to anecdotal structures might shift the short story form’s traditional polarity towards loneliness – a particularly urgent question in an increasingly lonely culture.

Acts of love and philosophy: In conversation with Irenosen Okojie

An interview with leading British fiction-writer Irenosen Okojie, transcribed and edited following a Zoom conversation with Lucy Dawes Durneen in December 2021 in Cambridge. It also includes questions from creative writing students. Okojie discusses her own practice as short story writer, including the choice of titles and short story endings, and issues of representation facing Black writers, especially in relation to female characters. She also discusses her non-fiction as a method of dealing with trauma and feelings of vulnerability.

The Amir's Homily of Rudyard Kipling: A Binary of Colonial Attitude Towards Afghans

This article deals with the analysis of the short story, ‘The Amir’s Homily’ of Rudyard Kipling’. It questions the colonial attitude of the very prominent British poet, short story writer and novelist of 20th century whose depiction of the natives is based on stereotyping. Kipling penned down number of poems, short stories, and novels from the last decade of the 19th century to the third decade of 20th century. The story “Amir’s Homily” mirrors the character of Afghan nations and a subsequent coercion of the iron ruler, Amir Abdul Rahman Khan. Analysis of the contents shows that throughout the story, the author sticks to the binary construct of ‘Self and Other’. His commentary and dialogues in the story show a narrative that determine Afghans the most unruly people under the stars and they deserved to be ruled and subjected to consistent oppression. On one hand, the story conditions Afghans and their Iron Amir (ruler) as dialectical opponents while on the other hand, he discards both parties and compares English Queen and people who are entwined in a human relationship. It reflects how English Queen is praised and honored and presented as a demi-god to be worshiped and idealized. On the other hand, his word choice and vocabulary for Afghan king and natives are completely harsh and dehumanizing. His ideal social and political order is only English order while others are crooked and uncivilized and do not deserve to be respected and valued.

The Literary Intertextuality in Aram Kakai Fallah Stories

Intertextuality is opening a new gate towards the literary text and identifies its relation with/to the previous rich fortune and its contemporary one. (The Literary Intertextuality in Aram Kakai Fallah Stories) is the title of this study which tries to explain the educational, experimental and technical levels of the story writer with the external intertextuality. Further, it specifies the most important literary intertextuality. The study is composed of two parts the first of which briefly introduces the literary texts then explains the emergence and the concept of intertextuality. Later, a glance is given to the types and techniques of intertextuality. In the second part according to the period of publishing the story and group of stories, the literary intertextuality is identified. Likewise, the most important techniques that are used by the story writer in the literary intertextuality are identified.

The Ideas That India's Great Nationalist And Patriot, Veer Svarkar, Had

Vinayak Damodar Savarkar was a notable writer who made progress in the fields of verse, fiction, and brief tale composing. He was likewise a brief tale essayist.. He was also a short story writer.. He was known for his work in all three of these genres. He was an Indian politician who advocated for democratic and secular states, in addition to his other roles as a religious reformer, a social worker, and a liberation warrior for his country. In addition to being a historian, he worked toward improving the quality of the language. In addition to this, he was the first journalist writing in the Marathi language to contribute to newsletters published in countries other than his own. In spite of the fact that he was active in politics, he wrote works of literature, which propelled him from the position of revolutionary patriot to the position of founding father of the Hindu Rashtra or Hindutva ideology. Savarkar did not commit his idea to paper in the form of a book; rather, his writing expresses both his philosophy of life and his straightforward love of intellectual pursuits. [Citation needed] The important ideas that veer Svarkar, a wellknown Indian nationalist and patriot, held will be analyzed in this paper so that we can have a better understanding of his perspective. The study combined descriptive and analytical approaches in order to arrive at a result through the application of a qualitative research technique.

ХУДОЖЕСТВЕННЫЙ ТЕКСТ КАК ВЫСКАЗЫВАНИЕ (НА МАТЕРИАЛЕ ПОВЕСТИ А. П. ЧЕХОВА «ПАЛАТА № 6»)

In our study, the most famous story of Anton Pavlovich Chekhov, who is known as the world-famous Russian and short story writer and is among the greatest writers in history, “Ward No. 6” is handled. In our article, the methodology of literary text analysis is explained, taking into account the internal dynamics of the construction of expressions and their inclusion in the chain of communication in the application of interactive teaching of the Russian language to Turkish students in a foreign language. Anton Pavlovich Chekhov's story "Ward No. 6" is accepted as a message that the reader is expected to respond to in the form of a call, criticism, evaluation, and sympathy. In our study, three types of expressions covering the text were used. These are the monologue author's speech, the indirect speech of the characters, and the dialogical speech. the author reveals the individuality of the topic of speech, his own style, worldview, the peripeteia of the plot of the works, with the author's speech, the different forms of expression of the characters' speech. In addition, in our study, through the role of landscape drawings, the year, the month, the day, the hour, the weather, as well as an action scene, are analyzed as a marker as well as the peripeteia of the plot of the work and an indicator of the emotional state of the characters. The subject of our study is the types of expressions in the story text as a communication tool between the characters, the author and the reader. In our study, as a part of the interactive teaching of Russian, the text analysis of Anton Pavlovich Chekhov's story "Ward No. 6" conducted with Turkish students, taking into account all the difficulties of understanding a foreign language text, the strategy of reading and understanding Russian literary texts, the speech tools used as a complex expression and it was concluded that each reader should find his own individual answer.

An Analysis of Munro’s Works from the Post-colonial Perspective

Alice Munro is an outstanding Canadian short story writer, Nobel Prize winner in Literature for Runaway in 2013. 
 Most of Munro’s works are set in the remote towns of southern Ontario, highlighting unique indigenous nature of Canada. It is 
 noteworthy that Canada is a post-colonial country, and Munro’s works are deeply influenced by the post-colonial characteristics 
 of Canada. So far, domestic and foreign scholars tend to study Munro’s stories from two main aspects of narrative strategy and 
 feminism, but they often neglect the post-colonial nature of Munro’s writing. Therefore, starting from the post-colonial perspective, 
 this paper attempts to deeply explore the construction of post-colonial features reflected in Munro’s writing for the purpose of 
 having a deeper understanding of her works.