Anecdote

Az anekdotával és a tréfás népi elbeszélés történetével foglalkozó kutatás (Jókai Mór akadémiai székfoglalójától Bahtyin Rabelais-monográfiájáig) egyetért abban, hogy ennek a populáris formának a születési ideje a kései középkor, a reneszánsz és a reformáció kezdő szakasza. (Az antik anekdota ügye minőségileg más kérdés)" -írja e kisműfajról esszéjében Alexa Károly. 3 Az anekdota műfaji meghatározására tett kísérletek -valóban -rendre figyelmen kívül hagyják az antikvitás több évszázados periódusát. A műfajról folytatott hazai diskurzusban 4 mindenekelőtt a Mikszáth-szövegek értelmezésének megkerülhetetlen feladataként fogalmazódtak meg anekdotakoncepciók. 5 A nemzetközi kutatás a műfaj 18. századi, jellemzően német földön jelentkező felvirágzását tekinti egyfajta műfajtörténeti terminus post quemnek. 6 Mindkét út lemond a kezdetek leírására tett kísérletről, ezzel pedig annak a lehetőségéről, hogy az antik anekdota formájának és narratív funkciójának a felismerésével tisztázza, esetleg megerősítse jelenlegi anekdota-koncepcióink vitatható vagy vitatott pontjait. 7 Műfajtörténeti szempontból nem tételezek

Przedstawione w książce zagadnienia nawiązują do idei integracji międzykulturowej i budowania wspólnoty poprzez radosny śmiech - zwłaszcza w odniesieniu do fascynującej, choć trudnej przeszłości. Ich podstawą jest komizm zawarty w żydowskich dowcipach i anegdotach o edukacji oraz wspólnota śmiechu i humoru ukształtowana w rozmaitych okolicznościach. W poprzedzającym część antologiczną eseju popularnonaukowym, zostały przedstawione argumenty potwierdzające tezę, że w zróżnicowanym kulturowo środowisku, dowcip i towarzyszący mu śmiech mogą stanowić czynnik dialogu międzykulturowego oraz narzędzie edukacji międzykulturowej. Zamiarem zespołu opracowującego niniejszą książkę była popularyzacja działalności Fundacji dla Uniwersytetu Kazimierza Wielkiego w bydgoskim Fordonie i zachęcenie do współpracy poprzez zainteresowanie wspólnym dziedzictwem kulturowym.

cytowanie: P.P.Grzybowski: Morycek w szkole. Żydowskie dowcipy o edukacji, w dialogu międzykulturowym. Fundacja dla Uniwersytetu Kazimierza Wielkiego, Wydawnictwo Uniwersytetu Kazimierza Wielkiego, Bydgoszcz 2016, 178 s., ISBN 978-83-927223-0-4 (patronat medialny: Oficyna Wydawnicza Impuls)

słowa kluczowe: śmiech, humor, dowcip, anegdota, edukacja międzykulturowa, dziedzictwo kulturowe, kultura żydowska, Żydzi, edukacja

The  determination  of  social  functions  of institute  is  one  of  the  most  difficult  issues  in  social  an-thropology. This discussion isn’t absolutely theoretical; on the contrary, the issue of the social func-tionality of the museum is one of the key issues for their further development. Some researchers hon-estly admit that a lack of understanding of social functions leads to a sharp decline in the effectiveness of museums. The article analyzes the functions of the museum as a sociocultural institution on the ba-sis of such a historical and anthropological source as anecdote. This issue, despite its fundamental im-portance, has rarely been analyzed in an anthropological vein. In addition, the interconnection between the museum and the culture of laughter has received little attention from researchers, although this top-ic clearly has great potential. For this research we used block of contemporary Russian anecdotes and the anecdotes of the soviet period (1917–1991) for comparative analysis. Totally more than 500 texts were analyzed. The analysis of the anecdotes associated with the museum shows that, despite the low popularity  of  this  institution,  in  mass  culture  and  consciousness,  in  the  culture  of  laughter,  its  key functions  and  problems  are  clearly  recorded.  This  once  again  confirms  the  importance  of  analyzing folklore texts for assessing the role of the museum in communities of any level. This material can be used to solve  a  variety of problems  of  museum  management, from assessing the  effectiveness of the socio-cultural activities of the museum to marketingcampaigns.

Anecdote 1. The Definition (Definisi) The definition of anecdote is a text which deals with something unexpected or out of ordinary that usually contains some amusing or unusual incidents (sebuah teks yang membahas sesuatu yang tidak terduga atau tidak biasa yang biasanya berisi kejadian yang lucu atau tidak biasa). Dari pengertian di atas, disimpulkan bahwa tujuan dari anecdote text adalah to tell the past events in order to amuse the readers or listeners by telling the unusual and/or amusing incidents, yang artinya, untuk menceritakan kejadian yang telah lalu guna menghibur pembaca atau pendengar dengan kejadian yang tidak biasa atau menghibur. 2. Structure (Struktur) Seperti halnya jenis teks lain dalam bahasa Inggris, Anecdote Text juga memiliki generic structure atau struktur kebahasaan tersendiri, yakni sebagai berikut: 1. Abstract Abstract adalah bagian pertama dari Anecdote Text, yang berisikan cuplikan suatu kejadian yang unik atau tak lazim yang dapat menarik perhatian. 2. Orientation Orientation, yang berisikan pengenan tokoh, waktu, serta setting tempat (5W+1H) dari cerita yang disampaikan. Bagian ini sama fungsinya seperti bagian Orientation pada Narrative Text. 3. Crisis Crisis adalah bagian untuk menjelaskan kembali hal unik atau ganjil yang telah diceritakan secara singkat pada bagian Abstract, dengan lebih detail atau terperinci. 4. Incident atau Reaction Incident atau Reaction. Di bagian ini terdapat penyelesaian atau jawaban dari hal unik atau tidak lazim yang sedang diceritakan. 5. Coda Coda adalah bagian penutup dari Anecdote Text, berisikan kesimpulan atau evaluasi dari kisah yang diceritakan. Biasanya, inilah bagian yang mengandung kelucuan atau yang mengundang tawa. 3. Characteristics (Ciri-ciri) Selanjutnya, kita akan membahas tentang ciri bahasa atau language feature dalam Anecdote Text ini; antara lain: a. Menggunakan Past Tense, baik Simple Past, Past Continous, atau Past Perfect tense.

ÖZET
Fıkralar halk edebiyatının güldürürken düşündüren anlatı türleridir. Kaynağı yaşanılan hayat olan
fıkralar, yoğun bir anlatıma sahiptir. Millî olmaları bakımından anlatıldıkları toplum hakkında önemli
bilgiler ihtiva ederler. Tek bir tip etrafında kurgulanan fıkralar, insan dehasının ürünü olmaları
münasebetiyle, ince bir mizah ekseninde topluma uzanırlar. Böylece mizah-toplum ilişkisi içerisinde,
anlatıldıkları kültürün hafızasında yer edinirler. Kültürel bellekte yer edinen fıkra tiplerinden biri de
İncili Çavuş’tur.
Türk mizah kültürünün meşhur şahsiyetlerinden olan İncili Çavuş, engin dünya görüşüne sahip bir
tiptir. İncili Çavuş etrafında oluşmuş fıkralar, ortak kültürel değerleri temsil etmektedir. Bu fıkralar,
İncili Çavuş’un tarihî bir şahsiyet olması sebebiyle, yaşadığı döneme de tanıklık etmektedir. O,
fıkralarında devrin otoriter güçleri karşısında bile zekâsı, açık sözlülüğü ve nüktedan karakteriyle ön
plana çıkmıştır. İncili Çavuş’un saraya yakın bir tip olmasına rağmen halktan kopmayan yönü ve ona ait
fıkralarda sosyal ve insanî değerlerin yer alması gibi hususlar, İncili Çavuş’un toplumun ortak hafızasını
temsil ettiğini göstermektedir. Fıkralar aracılığıyla ortaya konan mizahın sosyal ve kültürel yönlerinin
çözümlenmesi, birey, toplum ve kültür hakkında önemli bilgiler ortaya koyacaktır. Bu bağlamda İncili
Çavuş fıkralarının, mizahın topluma yön veren boyutu içerisinde, kültürel bellekte yer aldığı
görülmektedir.
Bu bildiride, İncili Çavuş fıkralarında mizahın toplumsal yönü ve kültürel bellek içerisindeki yeri ele
alınacaktır. Böylece fıkraların, mizahî ve ironik yapısı dâhilinde; sosyal ve kültürel hayata dair kültürel
bellekte şekillenen içeriği ile toplumun dünya ve varlık algısı birlikte değerlendirilebilecektir.
Anahtar Kelimeler: Kültürel bellek, mizah, toplum, fıkra, İncili Çavuş.

ABSTRACT
Anecdotes which are both laughing and thinking are the kind of narrative in folk literature. The
source of anecdotes is life and it has an intense expression. Anecdotes are national narratives because of
this they contain important information about the community. The anecdotes constructed around a single
type. They are the product of human genius and hence they extend to society in a subtle humour axis.
Thus, in humour-society relationship, they occupy a place in the memory of the culture which they
narrated. One of the types of anecdote which place in the cultural memory is Incili Cavus.
Incili Cavus one of the famous figures of Turkish culture humour is a type with a wider world view.
The anecdotes which formed around Incili Cavus represent collective cultural values. These anecdotes,
because of Incili Cavus’s historic personality, bear witness to an age which he lived. In his anecdotes,
even in the face of authoritarian power, has come to the fore with his outsmart, frank and witty character.
Despite Incili Cavus being close to the palace stance with the public and issues such as the inclusion of
social and humanitarian value in his anecdotes, shows that he represent the community's collective
memory. An analysis of the social and cultural aspects of humour which demonstrated through anecdotes
will reveal vital information about the individual, society and culture. In this context the anecdote of
Incili Cavus, humour that dimension in the direction of society, seen that take place in the cultural
memory.
In this work, anecdotes of Incili Cavus’s social aspect of the humour and its place in the cultural
memory will be discussed. Thereby humours and ironic structure within anecdotes, its content is shaped
by the cultural memory on the social and cultural life together with society's perception of the world and
existence will be considered together.
Keywords: Cultural memory, humour, society, anecdote, Incili Cavus.

The aricle is devoted to one of the most enigmatic details of Pushkin’s Grobovshchik namely, «a plump Amour with an inverted torch». The author investigates its variable semantic structures and a range of its narrative potentials determined by such contexts as a) classical allegorical tradition, b) patterns of the anecdote genre, c) elegiac language, and d) some elements of funeral practice.

In the middle of the 19th century the Russian memoir literature began close interaction with others genres, first of all with the novel and the essay those transformed its poetics and style. Sergey Timofeyevich Aksakov was the pioneer of this process. Many trends of this transformation affected his works significantly.
Working on the books about hunting and fishing Aksakov elaborated own synthetic style that jointed cognitive practices, ekphrasis, lyric self-conscience and emotional openness of narrative.
He introduced in his reminiscences many new plots and characters those were borrowed from the novel. Thanks to it the memoir literature was enriched with the new stock of methods of art. The characteristic features of Aksakov's memoir prose became the specific syuzhet structure and the proclaimed subjectivity. He denied the traditional unbiased author's point of view that just describes events for descendants. He selected the themes and plots for his works presumably leaning on the aesthetic criteria. The distinction of motif and syuzhet structure of the “Family Chronicle” is the characters those contain features traced back to archaic myths and tails. Their performance is specifically connected with the chronotope.
To understand properly the Aksakov's style it is necessary to take into consideration his attitude toward the oral word and the practice of primary uttering aloud his written works. It became one of the factors that predetermined the monologue and the spoken language as the basis of his style. Aksakov invented new usage of literary anecdote in memoir and autobiographical prose. Introducing the anecdote into the narrative he achieved some different purposes, he portrayed characters, put accents on important conflicts and formed the author's image as a spontaneous storyteller.

В середине XIX века русская мемуаристика открылась к взаимодействию с другими жанрами, прежде всего с романом и с очерком, что в итоге привело к преобразованию ее поэтики и стилистики. Сергей Тимофеевич Аксаков сыграл роль экспериментатора и первопроходца в этом процессе. Целый ряд тенденций, связанных с трансформацией этого жанра, отразился в его творчестве с особенной полнотой.
С. Т. Аксаков, работая над «Записками об уженье рыбы» и «Записками ружейного охотника Оренбургской губернии», выработал специфичный синтетический стиль, в котором отношение к литературе как форме познавательной деятельности и экфрастичность, наглядность в передаче образов слились с лиричностью, а также с эмоциональной открытостью авторского слова.
В своих воспоминаниях писатель широко использовал сюжетные ходы и способы построения образов персонажей, ранее свойственные жанру романа. Это способствовало расширению тематики и арсенала художественных приемов мемуарно-автобиографической литературы в целом. Отличительными чертами мемуарной прозы С. Т. Аксакова являются ее «сюжетность» и декларируемая «субъективность». Он отказывается от традиционной для жанра «беспристрастной» позиции автора-историографа, фиксирующего для потомков то, чему он был свидетелем, и руководствуется в отборе тем и сюжетов своих произведений прежде всего эстетическими критериями. Особенностью мотивно-сюжетной структуры «Семейной хроники» является то, что в образах ее персонажей можно обнаружить элементы, восходящие к архаичным мифам и волшебной сказке. Функционирование этих элементов особым образом связано с хронотопом произведения.
Для понимания особенностей языка прозы С. Т. Аксакова необходимо учитывать его писательское отношение к звучащему слову и практику предварительного проговаривания, «устной обкатки» написанного им текста. Это стало одним из факторов, определявших специфичный монологизм его стилистики, ориентацию ее на устную речь. С. Т. Аксаков выработал особые подходы к использованию литературного анекдота в своей мемуарно-автобиографической прозе. Он, встраивая анекдот в ткань повествования, достигает разнообразных художественных целей: характеризует персонаж, акцентирует важные для сюжета конфликты, формирует в сознании читателя образ автора непринужденного рассказчика и т. д.

Özet: Türk sözel edebiyatının unsurlarından olan fıkra türü geçmişten günümüze dilden dile ve nesilden nesle aktarılarak gelmiştir. Bu türün önemli temsilcilerinden olan Nasreddin Hoca ise Türk milletini temsil özelliği kazanmış önemli tiplerdendir. Nasreddin Hoca'nın adı etrafında anlatılan fıkra metinleri önceleri sadece sözel kültür ortamının ürünüyken, zamanla yazılı kültür ortamına dâhil olmuş ve günümüzde çeşitli vesilelerle elektronik kültür ortamında da karşımıza çıkmaktadır. Nasreddin Hoca'nın yazılı kültür ortamındaki izlerinden biri de günümüz mizah dergilerinde bazı karikatüristlerin Hoca'nın fıkralarını temel alan karikatürleridir. Çizerlerin karikatürlerinde, fıkraların yeniden yorumlanarak okurlarına sunulduğu görülmektedir. Ayrıca bu karikatürler, dergilerde yayımlandıktan sonra elektronik ortamda da yayılmaktadır. Böylece fıkradan üretilen yeni mizah malzemesi, elektronik kültür ortamında daha geniş kitlelere ulaşmaktadır. Başka bir deyişle fıkra metinleri temel alınarak yeni mizah unsurları oluşturulmakta ve yayılmaktadır. Bu çalışmada fıkra türünün kültür ortamlarından etkilenişi ve bu ortamları etkilemesi de göz önüne bulundurularak çizerlerin ürünleri ile fıkralar reproduction (yeniden üretim) / reconstruction (yeniden oluşturma) merkezli olarak değerlendirilecektir.

Özet:
Biyografi, bütün dünyada tarih ve edebiyatla ilişkilendirilmiş; çoğunlukla edebiyatın alt dallarından biri olarak kabul edilmiştir. Şuara tezkireleri de Türk edebiyatında Osmanlı şairlerinin biyografileri hakkında bilgi veren en eski ve güvenilir kaynaklar olarak kabul görmektedir. Yakın geçmişte tezkirelerin tıpkıbasımları yahut bugünkü harflere aktarılmış (transkripsiyonlu) metinleri oldukça ciddi çalışmalar neticesinde günümüz araştırmacısının istifadesine sunulmuştur. Mamafih bu emek mahsulü çalışmaların yanında tezkirelerle ilgili yapılması gereken başka önemli çalışmalar da vardır. Bunlardan biri şair tezkirelerinin mukayeseli ve tenkidî bir bakış açısıyla ele alınması, bir diğeri ise tezkirelerde verilen bilgilerin güvenirliklerinin sorgulanmasıdır. Zira bu eserlerin hangi kimlik, karakter ve bakış açısıyla kaleme alındığı konusu, içerdikleri birçok sıradan bilgiden daha fazla önem arz etmektedir. Bu çalışmada, Osmanlı tarih ve edebiyatının önemli müelliflerinden Gelibolulu Mustafa Âlî'ye ait olarak bilinen Künhü'l-Ahbâr'ın Tezkire Kısmı'nda yer alan biyografilerin, içerdikleri anekdotlar vasıtasıyla, okuyucunun bilinçaltına verdiği olumsuz mesajlar üzerinde durulmuştur. Seçilen yöntem, incelenen eser üzerinde teknik ve bütüncül bir kaynak tenkidi çalışması olduğu iddiasında değildir. Zira kullanılan metot/bakış açısı, sezgi ve muhakeme üzerine kurulmuş basit bir metottur ve hiçbir yönüyle Künhü'l-Ahbâr'ın sahihliğini tespit edebilme kudretine sahip değildir. Fakat eser, sahihlik yönünden kendisinden şüphe duyulmayı hak edecek verilerle doludur. Makalede bu veriler bağlamında, tezkire yazarının anlattığı anekdotlarla Osmanlı toplumunu hangi karakter ve bakış açısından tasvir ettiği ortaya konmaya çalışılmıştır.

Abstract: Biography has been associated with literature and history across the world, and it has widely been accepted as one of the lower branches of literature. Poet biographies are regarded as the oldest and most reliable sources giving information about the biographies of the Ottoman poets in Turkish literature. Facsimile biographies or texts which were transferred to current letters (transcribed ones) were presented to the benefit of today's researchers as a result of a serious study in the recent past. However, in addition to these works, which were obtained through considerable effort, there are another important works which need to be done about the biographies. One of them is consideration of poet biographies with a comparative and critical perspective; the other one is the examination of reliability of the provided information in biographies. Because the issue from which identity, character and point of view these works were penned is more important than the lots of ordinary information they contain. In this study, negative messages, given to the subconscious mind of the reader through anecdotes they contain, which were in Biography Part of Kunh-ul-Ahbar known as the work of Mustafa Ali of Gallipolis who is one of the most important authors of Ottoman history and literature, were focused. The selected method does not claim to be a technique and integrated source of criticism running on the review of work.  Because the used method / insight is a simple method based on intuition and reasoning and does not have the ability
to identify the authenticity of any aspect of Kunh-ul-Ahbar. But the work is filled with the data which is
enough to create doubts regarding the work itself in terms of authenticity. In the context of this data in the
article, it was tried to reveal with the depicted anectodes, from which character and point of view the
biography writer portrays the Ottoman society.
Keywords: Ottoman Poet Biographies, Kunh-ul-Ahbar, Mustafa Ali of Gallipolis, Anecdote, Text criticism.

Süleyman Demirel Üniversitesi, Türk Dili Bölümü, [email protected].

This article analyzes Mencius 7B.23, a concise passage that offers complex ethical dilemmas. It provides a close reading of the passage, along with relevant passages elsewhere in the text and, occasionally, in other texts. The narrow goal of the article is to present a coherent reading of the passage within the context of the Mencius as a whole. This reading suggests that while the passage touches upon a wide range of topics, including personal credibility and political responsibility, the overarching concern is on being a morally superior person, on the difficult dilemmas such people may face, and on how they would respond to them. More broadly, the article shows that while the philosophical practice of "weighing circumstances" (quan 權) allows moral agents in exceptional cases to break certain moral or ritual rules, Mencius seems unwilling to apply this discretion when morality as a whole, or the integrity of the person who embodies it (shi 士), are involved.

Existe cierto consenso al aceptar La vida secreta (1942) de Salvador Dalí como su principal instrumento de construcción de imagen pública, pero apenas se ha profundizado sobre los fundamentos internos de dicha proyección, los dispositivos de su programa memorístico y las implicaciones de una elección semejante. Partiendo de algunos estudios sobre la leyenda del artista y la crítica feminista al relato hegemónico, este artículo pretende problematizar aquellos aspectos para descartar la consideración referencial del texto, analizar la reiteración de los tópicos procedentes del modelo biográfico de la historiografía del arte y proponer la controvertida idea del genio como clave interpretativa.

It is widely accepted that Salvador Dalí’s autobiography La vida secreta (1942) constitutes his main public image construction instrument. However, the internal foundations of this projection, the devices of his memory program and the implications of such a choice have been barely studied in deep. Based on some essays about the artist legend and the feminist criticism to the hegemonic narratives, this paper aims to cast aside the referential consideration of the text, to analyze the reiteration of topics from the biographical model of art historiography and to propose the controversial idea of genius as an interpretative key.

In L. Athanasaki and F. Titchener (edd.), Plutarch’s cities, 141-165. (Oxford: Oxford University Press, 2021).

This paper examines how Plutarch constructs the relationship between Alcibiades and the city of Athens in the early part of the Life of Alcibiades (chs. 4-8). It argues that, through these apparently disconnected stories, Plutarch combines the portraits of Alcibiades in Thucydides, Plato and Aristophanes with material from the orators and the anecdotal tradition not only to bring out Alcibiades’ domineering behaviour (hybris) and luxurious self-indulgence (tryphe) but also, through a series of shifting focalisations and voices, to characterize the Athenians and the dynamics of their interaction with Alcibiades. Furthermore, even though these anecdotes concern Alcibiades’ ‘personal’ life, they have explanatory force on the political level: that is, they explore and explain the mechanisms by which Alcibiades became so politically dominant, and would later be rejected so decisively. This is a portrait, in other words,  not only of the great individual but also of the city which produced him.

In the middle of the 19th century the Russian memoir literature began close interaction with others genres, first of all with the novel and the essay those transformed its poetics and style. Sergey Timofeyevich Aksakov was the pioneer of this process. Many trends of this transformation affected his works significantly.
Working on the books about hunting and fishing Aksakov elaborated own synthetic style that jointed cognitive practices, ekphrasis, lyric self-conscience and emotional openness of narrative.
He introduced in his reminiscences many new plots and characters those were borrowed from the novel. Thanks to it the memoir literature was enriched with the new stock of methods of art. The characteristic features of Aksakov's memoir prose became the specific syuzhet structure and the proclaimed subjectivity. He denied the traditional unbiased author's point of view that just describes events for descendants. He selected the themes and plots for his works presumably leaning on the aesthetic criteria. The distinction of motif and syuzhet structure of the “Family Chronicle” is the characters those contain features traced back to archaic myths and tails. Their performance is specifically connected with the chronotope.
To understand properly the Aksakov's style it is necessary to take into consideration his attitude toward the oral word and the practice of primary uttering aloud his written works. It became one of the factors that predetermined the monologue and the spoken language as the basis of his style. Aksakov invented new usage of literary anecdote in memoir and autobiographical prose. Introducing the anecdote into the narrative he achieved some different purposes, he portrayed characters, put accents on important conflicts and formed the author's image as a spontaneous storyteller.

В середине XIX века русская мемуаристика открылась к взаимодействию с другими жанрами, прежде всего с романом и с очерком, что в итоге привело к преобразованию ее поэтики и стилистики. Сергей Тимофеевич Аксаков сыграл роль экспериментатора и первопроходца в этом процессе. Целый ряд тенденций, связанных с трансформацией этого жанра, отразился в его творчестве с особенной полнотой.
С. Т. Аксаков, работая над «Записками об уженье рыбы» и «Записками ружейного охотника Оренбургской губернии», выработал специфичный синтетический стиль, в котором отношение к литературе как форме познавательной деятельности и экфрастичность, наглядность в передаче образов слились с лиричностью, а также с эмоциональной открытостью авторского слова.
В своих воспоминаниях писатель широко использовал сюжетные ходы и способы построения образов персонажей, ранее свойственные жанру романа. Это способствовало расширению тематики и арсенала художественных приемов мемуарно-автобиографической литературы в целом. Отличительными чертами мемуарной прозы С. Т. Аксакова являются ее «сюжетность» и декларируемая «субъективность». Он отказывается от традиционной для жанра «беспристрастной» позиции автора-историографа, фиксирующего для потомков то, чему он был свидетелем, и руководствуется в отборе тем и сюжетов своих произведений прежде всего эстетическими критериями. Особенностью мотивно-сюжетной структуры «Семейной хроники» является то, что в образах ее персонажей можно обнаружить элементы, восходящие к архаичным мифам и волшебной сказке. Функционирование этих элементов особым образом связано с хронотопом произведения.
Для понимания особенностей языка прозы С. Т. Аксакова необходимо учитывать его писательское отношение к звучащему слову и практику предварительного проговаривания, «устной обкатки» написанного им текста. Это стало одним из факторов, определявших специфичный монологизм его стилистики, ориентацию ее на устную речь. С. Т. Аксаков выработал особые подходы к использованию литературного анекдота в своей мемуарно-автобиографической прозе. Он, встраивая анекдот в ткань повествования, достигает разнообразных художественных целей: характеризует персонаж, акцентирует важные для сюжета конфликты, формирует в сознании читателя образ автора непринужденного рассказчика и т. д.

Abstract: The first objective of the paper is to represent and discuss the cultural history of the words виц „anecdote“, масал „funny story, anecdote“ and анекдот „anecdote“ in Bulgarian. All three of them are loans – from German, Turkish and French, respectively. The second objective is to analyze the way of use of the corresponding genres, named by them, from communicative and stylistic point of view. The third, and final objective is to discuss the nature of the social practices implied in the way of sharing texts of these three genres of oral folk literature. Although all of them are intended as short and sharp-witted stories, they differ in the patterns of their social and cultural determination in the local context that only partially can be accounted for by the background offered by the cultures from which they were originally borrowed as words, concepts and practices.

The confrontational activism of ACT UP, or the AIDS Coalition to Unleash Power, has been credited with changing the landscape of lesbian-gay-bisexual-transgender (LGBT) rights, forcing the Federal Drug Administration to address the AIDS crisis, and contributing to the emergence of queer theory and its challenges to cisheteropatriarchy. 3 But one question Gould's book asks is: why didn't the confrontational stance of queer politics emerge sooner? That is, why didn't more people publicly speak out preceding ACT UP, given the high death toll from AIDS? Her response is that internalized homophobia in gay communities fostered gay ambivalence and shame over queer sexual practices, contributing to respectability politics, in which the recognition of LGBT people as solid, upstanding citizens who were no different than heterosexuals was the goal. 4 ACT UP challenged central pillars of respectability politics, including the assumption that sex was a private matter and the emphasis on gay and lesbian assimilation. By making queer difference public, ACT UP shifted emotional landscapes of gay and lesbian activism, transforming gay shame into queer anger. And yet, in our contemporary political environment, the radical potential of queerness is tamed into assimilatory, postqueer practices appeasing straights and conservatives alike. 6 Queerness has been defined as a "horizon of possibility" in which we might be freed from normative violences and strangleholds of msu-qed71-all.indd 100 msu-qed71-all.indd 100

Abstract
Ottoman poet tezkires (dictionaries of poet biographies) are one of the most widely used written sources in the works related to the literary, political, social, and religious life of the Ottoman society. These biographical works, which provide information about Ottoman poets and contain examples from their poems, are not only works of biography, literature and history, but also sources of politics, sociology and social anthropology for classical Turkish literature. In these works, while the life stories (biographies) of the poets are narrated, the passages which are either related to the main subject or independent of it are included within the main text. These small exemplary passages reflecting the people’s lives in their biographies, gliding from their memories and arousing curiosity in the reader prove to be termed as anecdotes, digressions, stories, etc. in the literature. This narrative style, which is known to have been frequently used in the narration-based works in both classical East and old Western literatures, appears to be termed as mutayaba, witticism (mulatafa), pleasantry, narrative, story etc. in the Ottoman poet tezkires. This technique, which is said to aim to add richness to the subject, to keep the interest of the reader alive or not to make the reader tired out, is important as a rhetorical tool.
These passages, which are said to add color to the biographies of the poet tezkires- and which are even often considered more important than biographical information - are termed as ‘digression’ or ‘anecdote’ in academic studies on the Ottoman poet tezkires. In the paper, these passages have been suggested to be termed as ‘anecdote’. In addition, other narrative techniques showing close characteristics with anecdote, mistaken for anecdote or likened to it are also briefly introduced, and examples have been offered from the Ottoman poet tezkires known to have been written in the 16th century.
Keywords: Classical Turkish Literature, Ottoman Poet Tezkires, Anecdote, Digression, Narrative, Pleasantry.

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There  is a phenomenal and visceral moment in which you can sense the merger of your mind and the soul of your conscience. You're no longer the person of the temporal, secular moment, but of Time's visitation through your being-it's conduit instrument. It is then, that even with your willing conscious control of your kinetic activity, you're also the voyeuristic observer of the surreal production you're doing in this dimensional alter-character space.

It's an 'alter-space' because the precipitated consequences were triggered by that congruence made between conscience-mind-body. The contemporaneous rules lose their normal restraint on the energy of your aroused conscience. The asymmetric, mythic anecdotal occurrence has taken place. You no longer are the cultural creature of your historical context. You've become the visitational presence in that historical context.

That visitational presence soon becomes the realization that the 'visitation' is the energy of coherent logical meaning over-coming the rules and unspoken ways of the material. In fact, the visitational 'logical meaning' being the auxiliary instrument of the body is the primary predicate of our existence and not the subordinate servant of our existence. That logical meaning associates with and acquires whatever is/was the tangible avatar of that meaning-be it God, angels, the Devil, or any other personage or object most related to that meaning and purpose.

"L'uovo di Dante. Aneddoti per la costruzione di un mito" si distingue all'interno della copiosa saggistica pubblicata in occasione del Settecentenario della morte di Dante Alighieri perché reinaugura con lucidità e rigore una tradizione appartata di studi danteschi, quella aneddotica, che può concorrere in maniera determinante a una disamina profonda di ciò che la figura di Dante ha rappresentato in varie epoche storiche, dal Medioevo alla Contemporaneità. Forse più che cercare di scolpire una monolitica statua dantesca, in fondo sarebbe più proficuo riflettere sulle molteplici idee di Dante che si sono affastellate anche attraverso varie tradizioni di aneddoti concorrenti alla formazione di un mito, che agisce tutt'oggi dall'ambito poetico e narrativo al masscult e al pop. Non è un caso che l'autore di questo originale lavoro, Luca Carlo Rossi, in apertura si ricolleghi esplicitamente a un saggio fondamentale non solo della dantistica, ma della critica letteraria novecentesca, "Un'idea di Dante" (1976) di Gianfranco Contini. Attraverso lo studio della tradizione aneddotica, l'obiettivo è interpretare i complessi fenomeni di ricezione del personaggio e dell'opera di Dante. Nella premessa viene innanzi tutto ricostruita una cronistoria degli studi sull'aneddotica dantesca, situandosi il libro di L. C. Rossi ad un secolo esatto dall'uscita di "Die Legende um Dante" (1921) di Albert Wesselski, ultima raccolta complessiva di racconti danteschi, che si rifà ai due volumi di riferimento a riguardo: "Dante, secondo la tradizione e i novellatori" (1873) di Giovanni Papanti e "La leggenda di Dante. Motti, facezie e tradizioni dei secoli XIV-XIX" di Giovanni Papini (1911), anticipati a loro volta dal più esile volume di Filippo Scolari "Intorno agli aneddoti spettanti alla vita di Dante Allighieri" (1865), che ha la primogenitura a riguardo, situandosi nella temperie del sesto centenario della nascita di Dante. Per quanto riguarda la macrostruttura della monografia, alla premessa generale seguono otto capitoli tematici, con l'apporto finale di strumenti utili per ripercorrere il libro non necessariamente in modo lineare: due repertori schematici degli aneddoti in ordine di presentazione e in ordine cronologico, la bibliografia e le referenze iconografiche, un indice dei nomi e dei luoghi. In totale sono 55 gli aneddoti riportati (alcuni in più varianti), i quali vengono in primo luogo tradotti dal latino o parafrasati dall'italiano antico, per essere poi analizzati nella loro testualità e in rapporto al contesto di produzione dell'aneddoto, sondando una possibile realtà o plausibilità storica e mettendo in rapporto l'aneddoto con passi dell'opera di Dante e di altri autori.

This article is part of a wider PhD research looking at how an artistic scene operates during crisis, fo-cusing on specific case studies from contemporary dance in Athens from 2008 to 2016. The research examines the history and transformation of existing infrastructures and government policies during this crisis period and new practices, structures and discourses that have emerged in response to this changing context. The article outlines and discusses the methodological approaches employed to do this research, revealing their significance and examining their complexities through specific examples stemming from the researcher herself and her writing experience.

Methodology is intrinsically related to “object” and its quality is based on the degree to which a method is doing justice to the object, demonstrating the entanglement of ontic, epistemic, and ethical considerations. The intent of “doing justice” is at the core of methodology and is the de facto guiding principle for conducting research and for producing knowledge. Objects in psychology can range from subjectivity to science and conflicts emerge because of giving primacy to particular objects. Using this perspective, various meanings of doing justice, critics’ challenges, deviations from doing justice to an object, ethical-political dimensions and the dialectics of doing justice in relation to objects are discussed. If doing justice is at the core of methodology, then the issue becomes under what circumstances a particular method is doing justice in relation to a particular object. Contrasting the experiment with anecdotes, it is shown that the former has no privileged status, and that experiments that are not replicated only do justice as anecdotal evidence.

This article asks the question: how do we learn about good and bad, or effective and ineffective, higher degree research (HDR) supervision practices, and about the institutional and disciplinary expectations that define them as such? I suggest that cliché, gossip, and anecdote are central to this education. In different ways, these speech genres both circulate knowledge about supervision practices and help to form social relations and approaches to knowledge integral to effective supervision. This acknowledgment is significant for discussions about formal training programs for HDR supervision. It addresses both who is presumed to be the subjects of formal supervision training (what, and how, do they already know?), and the wider contexts and processes of learning about supervision into which formal programs intervene.

Halk edebiyatı ürünleri toplumların kültürel birikiminin aktarıcısı konumundadır. Oluştuğu toplumun değer yargıları, dünya görüşü, evren tasavvuru gibi farklı birçok birikim halk edebiyatı ürünleri aracılığı ile geçmişten günümüze ve sonrasında geleceğe aktarılır. Bu aktarım bir milletin varoluşsal mücadelesini tarihe kaydettiği gibi aynı zamanda duygu dünyasını ve sanatsal yönünü de kuşaktan kuşağa iletir. Anonim halk edebiyatı içerisinde yer alan her tür üretim bu aktarımı farklı özellikleri etrafında gerçekleştirir. Anonim üretimler içerisinden fıkra türü de kültürel aktarımın ve toplumsal görüşlerin iletilmesi bakımından önemli bir unsur olarak karşımıza çıkar. Toplumsal zekanın, mizah anlayışının ve eleştirel düşüncenin kodlarını barındıran fıkralar bu bağlamda kültürel birikimin aynası konumundadır. Türk Dünyası’ndan Anadolu’ya, Kafkaslardan Balkanlara farklı isimler ile anılan fıkra türü; aynı zamanda farklı işlevleri de yerine getirerek Türk kültürünün değerlerini taşımaktadır. Bahsi geçen kültürel birikimin varlığını sürdürdüğü coğrafyalardan birisi de Türkiye’nin en kuzey sınırında olan ili Ardahan’dır. Halk edebiyatının, sözlü geleneğin yaşandığı ve yaşatılmaya çalıştığı il Türk kültürünün daha iyi anlaşılabilmesi için araştırmacılara geniş bir birikim sunmaktadır. Sözlü kültürün nadide örneklerini yaşatan Ardahan ili fıkra türü açısından da zengin bir birikime sahiptir. Çalışmamızın temel dayanağı Ardahan ilinin Çıldır ilçesinde derlenmiş olan fıkralar üzerinedir. Bahsi geçen fıkralar işlevsel halkbilimi kuramı çerçevesinde çözümlenmeye çalışılmış ve farklı özelliklerine göre tasnif edilmiştir.

Language is a term with many definitions and functions. Apart from being the basic communication tool and a living creature, language is the most important agency that enables the development of a nation, and helps a nation to carry its culture and identity into the future. Language is also the culture; and with this aspect, it has the ability to take us to a journey from the future to the past. Throughout the history, the effects of languages on nations have been used in accordance with various ideologies,
and societies have been tried to be put into demanded stereotypes. Within this scope, dominating a wide geography, Russians effectively benefited from the language policies during Russification activities they used for different ethnic groups that lived under Russian domination. With the conquest of Kazan Khanate in 1552, Kazan Tatars had lived under Russian domination for a long time, and they had been densely xposed to Russification policies both in Czarist Russia and in the Soviet Union periods; and his effect has still continued today. One of the fields in which ussification policies has been densely observed is the language context. One of the most fundamental sources through which we can monitor the reflections of Russian effects that have lasted for hundreds of years is folklore products. It is possible to recognize a community’s frame of mind, world perspective, traditions, and customs through folklore products. It is known that social, political, and geographical events that the societies have been
subjected to reflect on folklore products; and, folklore products are direct or indirect witnesses of events that have occurred. One of the folklore products that social critic tool and reflect a society’s frame of mind, the events it has experienced, and their reactions against these events is anecdotes. In this study, the reflection of Russian language policies on Tatar culture will be analysed within the frame of Kazan Tatar anecdotes. As one of the important folklore products, anecdotes are among the main genres that uncover the humour; however, humour is not a tool which is only used to laugh. It also reflects social events that societies have experienced or the reactions that the societies have given to these events. Laughing is one of the most harmless and natural protests. When humans manage laughing, it sometimes becomes a weapon sometimes becomes a shield; human beings can hurt the others through laughing or can use laughing in order to protect themselves and to make themselves relax. People can express the despair they have experienced again through laughing or making others laugh. From this perspective, when Kazan Tatar anecdotes are nalysed, it can be said that many elements of social life are reflected in anecdotes. One of these elements is how Russian language is imposed on Kazan Tatars within the
context of language policies and the results of this situation.

La vida es una sucesión continua de vivencias, muchas de las cuales quedarán en la intrascendencia de la memoria a largo plazo, porque ocurren en el devenir normal de las acciones coti-dianas. Sin embargo, cuando ocurre un suceso o acontecimiento especial, éste deja una fuerte impronta y permanecerá grabado en esa memoria de una forma especial o prioritaria, y que en el futuro se rememorará en numerosas ocasiones, a veces de forma espontánea, otras sin causa aparente, y las más por su analogía con nuevas vivencias.

The present article discusses a set of poems registered in print nr. 1620 of the Régi Magyarországi Nyomtatványok catalogue. The poem was dedicated by a doctor of medicine from Levoča, Samuel Spillenberger to his alleged godson, the nobleman János Máriássy. Spillenberger wrote three poems in the name of each married brothers of Máriássy. The second poem, allegedly sang by Máriássy's youngest brother, András, tells a story about a bigamist crusader from the 12 th century. After presenting the family backgrounds of both the author and the addressees, the paper sheds light on the origin and possible sources of the story. Pointing out some specific textual properties of Spillenberger's poem, the paper tries to trace down its exact source. It also offers a panoramic picture about the presence of the bigamist figure in German neo-Latin Literature and culture from the 16 th to the 19 th century. Finally, the article closes with some remarks about the position of the poem in its own literary context of seventeenth-century neo-Latin wedding poetry in Hungary.

The present paper takes a compilation of stories taken from chat shows and analyses their body, i.e. the medial section which is subsequent to the orientation section and preceding the coda. It argues that anecdotes in chat shows rely heavily on reported speech. In fact, reported speech frequently forms the entire body of anecdotes. My findings disclose features inherent in the body of anecdotes, namely that reported speech is always animated and involves role-playing, simulating a character or more. It is recurrently introduced with a reporting verb such as “say” or the more informal verb “go”. In some cases, a reporting verb is not used at all, in which case the story tellers depend solely on “making voices”.

This article proposes a definition of Johnson's popular term, the 'good hater', in order to explore his ideas about malicious conversation and criticism. Good hating was a conversational and critical ideal for Johnson, in contrast to 'bad hating'hatred motivated by malice or malignitywhich threatened civil discourse. Johnson's own malice and 'roughness' are a vexed question in biographies by James Boswell, John Hawkins and Hester Lynch Piozzi. In spite of the efforts of Boswell, who has largely influenced the popular image of Johnson, I argue that Johnson fails to meet his own standards of good hating.

In Macr. Sat. ii 4, 31, a humble Greek poet (Graeculus) repeatedly begs Augustus to accept a praising epigram. To make him leave, the emperor himself plays the role of a poet: he composes an epigram impromptu and offers it to the Graeculus. In turn, the Greekling plays the role of an addressee of poetry and donates all of his money to the emperor, just a few denarii, and adds: “if I had more, I would give you more”. Augustus has to laugh at the joke of the Graeculus and donates him a big sum. Analyzing this anecdote in the framework of the testimonia about Augustus as a Greek poet, I aim to show that the sentence uttered by the Greekling capsizes a common anathematic motive, which runs as follows: “O deity, if you give me more (than my present offering), I will offer you more in return”. This motive was commonly used by Greek epigrammatists. In some late Hellenistic epigrams there is even an eulogistic shift in the employ of this topos, as the laudandus plays in these poems the very same role played by the god in the traditional formulation of the motive. So, Augustus is presented in the anecdote as an ironic, educated and open individual and, at the same time, is implicitly portrayed as a deus praesens, who immediately fulfills the wishes of his subjects. Although it can not be ruled out that the anecdote has undergone a remake process during the time, this Macrobian anecdote might be traced back to a propaganda to create a public persona of Augustus. In spite of its articulate structure, the anecdote can be seen as testimony to Augustus's knowledge of the Greek language as well.

Сколько анекдотов про вождя перемололи языки и зубы. Казалось бы —окончательные анекдоты, которые должны были прикончить культ этого вождя, всего семь лет верховодившего в России — с 1917 по 1924. От трехспальной кровати «Ленин с нами» до мочалки «по ленинским местам» и коньяка «Ленин в Разливе». Почему по всей Восточной Европе и бывшему Союзу ССР к западу и юго-западу от Минска и Брянска, да вот хоть в Киеве, где по словам Путина, один с нами народ живет, прошел успешный Ленинопад, а в России стоит наш коммунистический Приап, с прежней настойчивостью охаживает-огуливает свою бывшую девушку Россию, даром что мертвый? Вот как?

http://ru.rfi.fr/rossiya/20190127-lenin-opyat-ne-umer-kommunisticheskii-priap

A blend of academia and anecdote, this piece both researches and reflects upon my own experience of coming out as a 14 year old girl. I assess the pressure to identify oneself as "Other" by grappling with forms of gender policing that encourage sexual identity categories. I also reject crystallized conceptions of normative gender and criticize the tendency to essentialize desire as directly related to childhood appearance, behavior, and self-expression. This is in no way meant to apply to everyone--it is my own personal exploration of identity formation and memory.

It doesn't take a plurality or a quantitative volume of data; just an anecdotal similarity and sympathetic construct for there to create the critical mass for the individual or demographic group to have their own controlling adherence for their focus. The resulting dimensions of possibilities challenge the artificial relevance of some formalized and monolithic institutionalized narrative of any of the myriad cultural-demographic zeitgeists. I'd go as far to say that social stability and order are secondary to the release of liberating psychic energy that serves as the holistic shit (fertilizer) for germination of new strains of narratives, presently inconceivable within the present matrix of EXTERNAL CONSENSUAL "OBJECTIVISMS".
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in: Ottmar Ette (Hg.): Nanophilologie. Literarische Klein-und Kleinstformen: Microrelatos -Microficciones. Reihe: mimesis / Romanische Literaturen der Welt 47, Tübingen: Max Niemeyer Verlag, 2008, 121-137. Die Anekdote im Kontext der Nanophilologie ist eher eine klassische Kürzesterzählung als eine explizit im Kontext der Moderne entstandene Form. Allerdings wandelt sie sich mit den historischen und poetologischen Bedingungsgefügen und erfährt in diesen Kontexten jeweils neue Aneignungen und Funktionalisierungen. Im folgenden Beitrag geht es um die Anekdote im kolonialen Kontext, genauer gesagt, wie Ende des 18. Jahrhunderts im Kontext des französischen Kolonialismus durch Anekdoten Wissen über die Kolonien in das koloniale Zentrum gelangt. Dabei stütze ich mich auf zwei Texte, die anonym publizerte Histoire des Désastres de Saint-Domingue und Adonis, ou le bon nègre. Une anecdote coloniale des Kolonialbeamten und Journalisten Jean Baptiste Picquenard, die Ende des 18. Jahrhunderts in Frankreich in der Auseinandersetzung um das Verhältnis zwischen dem revolutionärenFrankreich und seinen Kolonien publiziert wurden. Beide nutzen die Gattung der Anekdote in unterschiedlicher Weise: zum einen im Sinne einer eingefügten kondensierten Erzählung in einem historiographischen Text, zum anderen als Referenz auf die Gattungsmerkmale der Anekdote im Untertitel einer längeren Erzählung, die hier als Vorform des Romans gelten kann. Die histoire dieser beiden Texte erzählt die Revolution in der Kolonie als Implosion der bestehenden hierarchischen Ordnung zwischen Herr und Sklave. 1 Ihr erzählerischer Grundplot entspricht hier dem scheinbar 1 Das konkrete Ereignis, um das es geht, ist die haitianische Revolution: Zeitgleich mit den Umwälzungen von 1789 in Frankreich beginnt in der ökonomisch wichtigsten französischen Kolonie ein komplexer Transformationsprozess, in dessen Folge 1804 die erste Republik freier Sklaven entsteht. In ihm wirken sehr unterschiedliche Interessen: Die antikolonialen Autonomiebestrebungen der grands blancs (etwa 20.000 weiße kreolische Plantagenbesitzer), der Kampf der hommes de couleur (ca. 30.000 freie Farbige) um Gleichstellung mit den Weißen und vor allem um politische Partizipation, der Kampf der so genannten petits blancs (30.000 weiße Handwerker, Ladenbesitzer und Besitzlose) um soziale Gleichstellung, der Kampf der freien und besitzlosen Schwarzen (affranchis) sowie der Kampf der schwarzen und nicht-weißen Sklaven (ca. 500.000 und über 90% der Bevölkerung) um die Abschaffung der Sklaverei, der radikale Umwälzungen erforderte. Der Konflikt zwischen diesen Gruppen äußert sich in bewaffnetem Terror, Pogromen, vereinzelten Revolten, Guerillakrieg und militärischen Auseinandersetzungen zwischen Armeen.