Search results for: genre

Authors: Indira Makhazhan, Azamat Taigarayev, Perizat Yerlan, Batyrbay Gulbike, Samal Abzhanova

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Aitys is a competitional performance of two or more poets creating instantly the lyrics of music concerning the social issues accompanied with the traditional instrument dombra. It is an unique music genre, because it is not practical to create music and lyrics spontaneous in anywhere else. This research study tends to approach to this particular music genre Aitys and identify its significance not only in the sense of the Kazakh cultural heritage, but also from the perspective of personal development as the improvisational , oratory, public performance skills within the ability to think critically over the social problems and represent them in convenient to public form. Through conducting this research, this paper aims to reveal the importance and beneficence of aitys in terms of both prevalence of cultural heritage and its function in personal development of the singer. In order to answer to the research question, we conducted a survey and an in-depth interview with the students of Nazarbayev University. In the survey it was asked to answer the general questions about aitys and its importance, whereas in the interview part, we asked their opinion on the importance of aitys in improving the personal skills. The results of findings was more surprising than it was expected. They agreed that the aitys lessons, workshops and concerts have high outcomes in terms improvements of improvisational, oratory, and leadership skills. Students of NU as a representors of young generation have shown a great interest in aitys, and even more interested in the topics/social issues, where the poets have to defend their usually controversial position. To conclude, the research study has focused on the importance of the aitys in personal development of different leadership skills. The given research lead us to think about the aitys as a part of cognitive musicology, where within the learning of music it represents the process of cognition as well.

Keywords: aitys, cultural heritage, Kazakh language, musicology, personal development

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Authors: Tamila Dilaverova

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In our era of globalization, the unhindered intercultural communication represents an essential element of development. To be proficient in a language one needs to get acquainted with cultural and national peculiarities of the language of native speakers. Cultural peculiarities are explicitly reflected in the nation’s cultural heritage, monuments, literary works, tales, even in clothes. A specific role in the evaluation of cultural performances, establishment, broadcasting, and preservation of behavior norms belongs to the folk texts, among which the fables occupy one of the most important places. A fable, as a genre has existed since ancient times. Fables are universal because they are absolutely appropriate for any century and for any society. Even in the era of the internet, fables turned out to be actual. Internet offers a wide range of re-made fables. Generally, they are new interpretations of Aesop’s fables, but in some cases they are original. These fables became the subject of our research because they contain some modern slangs and jargons and their language is not that much literary. But, besides the changes in the language, there are some changes in the fields of their occupation, everyday activities and the ways of moneymaking. Because of the numerous changes, these new fables can be called 'anti-fables.' Anti-fables are the very new kinds of fables, that can be absolutely suitable for internet generation and perfectly reflects modern reality. All these changes are the reflections of thoughts and actions of new generation and these anti-fables can become a new internet literary genre.

Keywords: intercultural, fable, language, internet

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Authors: Chie Urawa

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Cautionary statements or disclaimers in corporate annual reports need to be carefully designed because clear cautionary statements may protect a company in the case of legal disputes and may undermine positive impressions. This study compares the language of cautionary statements using two corpora, Sony’s cautionary statement corpus (S-corpus) and Panasonic’s cautionary statement corpus (P-corpus), illustrating the differences and similarities in relation to the use of meaningful cautionary statements and critically analyzing why practitioners use the way. The findings describe the distinct differences between the two companies in the presentation of the risk factors and the way how they make the statements. The word ability is used more for legal protection in S-corpus whereas the word possibility is used more to convey a better impression in P-corpus. The main similarities are identified in the use of lexical words and pronouns, and almost the same wordings for eight years. The findings show how they make the statements unique to the company in the presentation of risk factors, and the characteristics of specific genre of professional communication. Important implications of this study are that more comprehensive approach can be applied in other contexts, and be used by companies to reflect upon their cautionary statements.

Keywords: cautionary statements, corporate annual reports, corpus, risk factors

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Authors: Manvender Kaur Sarjit Singh

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There is a crucial mismatch between classroom written language tasks and real world written language requirements. Realizing the importance of reducing the gap between the professional needs of the legal practitioners and the higher learning institutions that offer the legislative education in Malaysia, it is deemed necessary to develop a framework that integrates real-life written communication with the teaching of content-based legislative discourse to future legal practitioners. By highlighting the actual needs of the legal practitioners in the country, the present teaching practices will be enhanced and aligned with the actual needs of the learners thus realizing the vision and aspirations of the Malaysian Education Blueprint 2013-2025 and Legal Profession Qualifying Board. The need to focus future education according to the actual needs of the learners can be realized by developing a teaching framework which is designed within the prospective requirements of its real-life context. This paper presents the steps taken to develop a specific teaching framework that fulfills the fundamental real-life context of the prospective legal practitioners. The teaching framework was developed based on real-life written communication from the legal profession in Malaysia, using the specific genre analysis approach which integrates a corpus-based approach and a structural linguistics analysis. This approach was adopted due to its fundamental nature of intensive exploration of the real-life written communication according to the established strategies used. The findings showed the use of specific moves and parts-of-speech by the legal practitioners, in order to prepare the selected genre. The teaching framework is hoped to enhance the teachings of content-based law courses offered at present in the higher learning institutions in Malaysia.

Keywords: linguistics analysis, corpus analysis, genre analysis, legislative discourse

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Authors: Chi-Ying Yu

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In real life, the occurrence of disasters is always dreadful and heartbreaking, yet paradoxically, disaster film is a genre that has been popular at periodic intervals in motion picture history. This study attempts to compare the disaster film cycles of the 1970s, 1990s, and the early 21st century. Two research questions are addressed: First, how this genre has responded to the existing conditions of society in different periods in terms of the disaster proposition? Second, how this genre reflects a certain eternal substance of the human mind in light of its lasting appeal? Through cinematic textual analysis and literature review, this study finds that the emergence of disaster films in the 1970s reflected the turmoil in international relations and domestic politics situation in contemporary American society, and cinema screens showed such disaster stories as shipwrecks, air accidents, and skyscraper blazes due to human negligence. The 1990s saw the fervor of millennial apocalypse legends, and the awakening of environmental consciousness, which, together with the rapid advances in digital technology, once again gave rise to a frenzy of disaster films, with natural disasters and threats from aliens as the major themes of disasters. Since the beginning of the 21st century, the 911 Incident and natural disasters around the world have generated a consciousness of imminent crisis. Cinematic images simulated actual disasters, while aesthetic techniques focused on creating a kind of ‘empathetic’ experience in their exploration of the essence of the disaster experience. At the same time, post-apocalypse films that focus on post-disaster reconstruction have become an even more popular theme. Taking the approach of Jungian/post-Jungian film study, this study also reviews and interprets the commonly exhibited subliminal feelings in the disaster films of the three different periods. The imagination of disaster seems to serve as an underlying state of the human mind.

Keywords: disaster film, Jungian/post-Jungian film studies, stimulation, sublime

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Authors: Raghav Lakhotia, Chandra Kanth Nagesh, Krishna Madgula

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A lot has been said and discussed regarding the rationale and significance of the Bechdel Score. It became a digital sensation in 2013, when Swedish cinemas began to showcase the Bechdel test score of a film alongside its rating. The test has drawn criticism from experts and the film fraternity regarding its use to rate the female presence in a movie. The pundits believe that the score is too simplified and the underlying criteria of a film to pass the test must include 1) at least two women, 2) who have at least one dialogue, 3) about something other than a man, is egregious. In this research, we have considered a few more parameters which highlight how we represent females in film, like the number of female dialogues in a movie, dialogue genre, and part of speech tags in the dialogue. The parameters were missing in the existing criteria to calculate the Bechdel score. The research aims to analyze 342 movies scripts to test a hypothesis if these extra parameters, above with the current Bechdel criteria, are significant in calculating the female representation score. The result of the Principal Component Analysis method concludes that the female dialogue content is a key component and should be considered while measuring the representation of women in a work of fiction.

Keywords: Bechdel test, dialogue genre, parts of speech tags, principal component analysis

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Authors: Amar Ramesh Wayal

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Marathi cinema, an integral part of India’s diverse film industry, has significantly evolved in its storytelling and aesthetics, with the Tamasha genre being central to this evolution. Tamasha, a traditional form of Marathi theatre, features vibrant dance and music, especially the rhythmic and often suggestive musical genre, lavani. It gained cinematic prominence in the 1960s with Anant Mane’s Sangtye Aika (1959), which brought and popularized Tamasha to the silver screen, and V. Shantaram’s Pinjra (1972), an iconic Tamasha drama. Despite early success, Tamasha films declined in popularity until Natarang (2010) revitalized interest in this traditional form. This study examines the relevance and evolution of the Tamasha genre in Marathi cinema through contemporary films like Ek Hota Vidushak by Jabbar Patel (1992), Natarang (2010) by Ravi Jadhav, and Tamasha Live (2022) by Sanjay Jadhav. The selection of the films is based on their significant roles in the evolution of the Tamasha in Marathi cinema. Ek Hota Vidushak explores socio-political themes through Tamasha, Natarang depicts the struggles and emotional depth of Tamasha performers, and Tamasha Live integrates traditional Tamasha into modern cinema. By analysing films from different periods, this study highlights the genre’s reinterpretation and adaptation over time. The study employs a qualitative approach, utilizing textual analysis and cultural critique to examine the portrayal and evolution of Tamasha in selected films. It aims to illuminate the complex relationship between tradition and modernity in Marathi cinema through Foucauldian discourse analysis and Pierre Bourdieu’s concept of “vernacular habitus,” which refers to local, indigenous cultural spaces that shape people’s perceptions and expressions. By analyzing these films, the study seeks to understand how traditional cultural forms are integrated into contemporary cinematic narratives. However, this method has limitations, such as subjectivity in interpretation and the need for extensive contextual knowledge. Qualitative research can be subject to researcher bias, affecting analysis and conclusions. To mitigate this, this study maintains rigorous reflexivity and transparency regarding the researcher’s positionality. Furthermore, findings from specific film analyses may not be universally applicable to all Tamasha films or broader Marathi cinema. To enhance the study’s robustness, future research could incorporate comparative or quantitative data to complement qualitative insights. Despite these challenges, qualitative research is crucial for exploring cultural artifacts and their significance within specific contexts. By triangulating qualitative findings with diverse perspectives and acknowledging limitations, this study aims to provide a nuanced understanding of how Tamasha cinema preserves and revitalizes Maharashtra’s folk traditions while adapting them to contemporary contexts. Analyzing films by Jabbar Patel, Ravi Jadhav, and Sanjay Jadhav shows how these filmmakers balance traditional aesthetics with modern storytelling, bridging historical continuity with contemporary relevance. This study offers insights into how indigenous traditions like Tamasha continue to shape and define cinematic narratives in Maharashtra.

Keywords: Marathi cinema, Tamasha genre, vernacular habitus, discourse analysis, cultural evolution

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Authors: Heba I. Bakry

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Academic writing in the tertiary education has always been a challenge to EFL learners. This proposed study aims at investigating the academic English language needs for PhD students and candidates studying humanities and social sciences at Cairo University. The research problem arises from the fact that most of them study English as a Foreign Language (EFL) or for specific purposes (ESP) in their undergraduate years. They are hardly familiarized with the different academic genres, despite the fact that they use academic resources written in English, and they are required to publish a paper internationally. Upon understanding the conventions and constraints of academic writing, postgraduates will have the opportunity to interact with the international academic spheres conveniently. There is, thus, a need to be acquainted with the generally accepted features of the academic genres, such as academic papers and their part-genres, such as writing abstracts, in addition to other occluded genres, such as personal statements and recommendation letters. The lack of practicing many of these genres is caused by the fact that there are clear differences between the rhetoric and conventions of the students' native language, i.e., Arabic, and the target language they are learning in the academic context, i.e., English. Moreover, apart from the general culture represented ethno-linguistically, the learners' 'small' culture represented in a national setting like Cairo University is more defining than their general cultural affiliations that are associated with their nationality, race, or religion, for instance. The main research question of this proposed study is: What is the effect of teaching a genre-based EAP course on the research writing competence of PhD candidates? To reach an answer to this question, the study will attempt to answer the following sub-questions: 1. What are the Egyptian PhD candidates' EAP perceived needs? 2. What are the requisite academic research skills for Egyptian scholars? The study intends to assess the students’ needs, as a step to design and evaluate an EAP course that is based on explaining and scrutinizing a variety of academic genres. Adopting a diagnostic approach, the needs assessment uses quantitative data collected through questionnaires, and qualitative data assembled from semi-structured interviews with the students and their teachers, in addition to non-participant observations of a convenience sample.

Keywords: course design, English for academic purposes, genre-based, needs assessment

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Authors: Huijing Wen, Daibao Guo

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Writing is thought to be the most complex facet of language arts. Assessing writing is difficult and subjective, and there are few scientifically validated assessments exist. Research has proposed evaluating writing using a multidimensional approach, including both qualitative and quantitative measures of handwriting, spelling and prose. Given that narrative writing has historically been a staple of literacy instruction in primary grades and is one of the three major genres Common Core State Standards required students to acquire starting in kindergarten, it is essential for teachers to understand how to measure beginning writers writing development and sources of writing difficulties through narrative writing. Guided by the theoretical models of early written expression and using empirical data, this study examines ways teachers can enact a comprehensive approach to understanding beginning writer’s narrative writing through three writing rubrics developed for a Curriculum-based Measurement (CBM). The goal is to help classroom teachers structure a framework for assessing early writing in primary classrooms. Participants in this study included 380 first-grade students from 50 classrooms in 13 schools in three school districts in a Mid-Atlantic state. Three writing tests were used to assess first graders’ writing skills in relation to both transcription (i.e., handwriting fluency and spelling tests) and translational skills (i.e., a narrative prompt). First graders were asked to respond to a narrative prompt in 20 minutes. Grounded in theoretical models of earlier expression and empirical evidence of key contributors to early writing, all written samples to the narrative prompt were coded three ways for different dimensions of writing: length, quality, and genre elements. To measure the quality of the narrative writing, a traditional holistic rating rubric was developed by the researchers based on the CCSS and the general traits of good writing. Students' genre knowledge was measured by using a separate analytic rubric for narrative writing. Findings showed that first-graders had emerging and limited transcriptional and translational skills with a nascent knowledge of genre conventions. The findings of the study provided support for the Not-So-Simple View of Writing in that fluent written expression, measured by length and other important linguistic resources measured by the overall quality and genre knowledge rubrics, are fundamental in early writing development. Our study echoed previous research findings on children's narrative development. The study has practical classroom application as it informs writing instruction and assessment. It offered practical guidelines for classroom instruction by providing teachers with a better understanding of first graders' narrative writing skills and knowledge of genre conventions. Understanding students’ narrative writing provides teachers with more insights into specific strategies students might use during writing and their understanding of good narrative writing. Additionally, it is important for teachers to differentiate writing instruction given the individual differences shown by our multiple writing measures. Overall, the study shed light on beginning writers’ narrative writing, indicating the complexity of early writing development.

Keywords: writing assessment, early writing, beginning writers, transcriptional skills, translational skills, primary grades, simple view of writing, writing rubrics, curriculum-based measurement

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Authors: Narjes Azimi

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It has been a while that narrative and storytelling turned to be the inevitable part of media. The narrative has so many aspects and among those entire aspects, the fantasy genre is consciously challenging one as fantasy readers are used to reading narratives like good versus evil plot. This paper will analyze the ASOIF TV series as a Meta narrative cultural production that deconstructs the elements of a traditional narrative. This study will shade on a grand narrative perspective from poststructuralism point of view. The theoretical framework is structuralism and post structuralism. Lyotard and Barthes are two main poststructuralists and focus of the study. Lyotard grand narrative elements will analyze in this research study. Fantasy genre generated a number of outstanding authors that explore innovative perspectives. Among all these leading authors George R.R Martin is one of the best. George R. R. Martin’s Fantasy a Song of Ice and Fire picturized the brutal world that seven kingdoms struggling for the power. Since 2011 this production has been followed and watched by millions of audiences all around the world. The methodology is the textual analysis of selected scenes. Martin’s distinctive fantasy style which makes it different from other fantasies, yet this shift does not negate how the previous fantasy writers represent the mentioned concepts of war, and etc., but Martin’ fantasy and left the mature audiences full of uncertainty.

Keywords: narrative theory, metanarrative, deconstruction, post-structuralism, Lyotard, Barthes

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Authors: Lorraine Ramos

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The question of heritage language learners in foreign language classrooms has been widely debated in second language education, especially with Spanish in a U.S. Instructors of Spanish as a foreign language have brought pedagogical focus to Spanish heritage language students in order to retain, develop and maintain their first language. This paper proposes a thorough examination of the use of conceptual metaphors within autobiographical linguistic narratives as a key indicator of the writing development of advanced Spanish-language students. By pairing genre theory from Systemic Functional Linguistics with metaphor theory, this paper will examine the metaphors used by 3rd and 4th year university Spanish students within the narrative genre from a corpus of 16, 091 words. The investigation has found that heritage language students use a variety of bicultural metaphors, transferred from both languages to conceptualize their linguistic development, in addition to using metaphor in specific narrative stages as a literary strategy. Since it has been found that the metaphors used were transcultural, the use of conceptual metaphors in heritage language learners can be further examined to help these students achieve their linguistic and academic goals in the Spanish by transferring from their knowledge in English. In conclusion, by closely examining the function of student discourse through their multicultural metaphoric competence, this study provides important insights on how to enable instructors to best further their students’ writing development in the target language.

Keywords: academic writing development, heritage language learners, language attitudes and ideologies, metaphor

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Authors: Kristin Murray

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The proposed paper exams prologues in 20th and 21st century American literature in order to show how Native American writer Tommy Orange’s Prologue in his 2018 novel There, Thereis different. In an interview about his 2018 novel There, There, explains he feels “a kind of burden to catch the general reader up with what really happened, because history has got it so wrong and still continue to” (Laubernds). Orange, thus, includes a “Prologue” in his novel to do this work, catching readers upon Native Americans and their history. Prologues are usually from the narrator’s voice, a character’s voice, or even from a fictionalized version of the author, but the tone of Orange’s “Prologue” is that of a non-fictional first-person essayist. Examining prologues in American literature posits Orange’s prologue outside the norm. This paper also examines other introductory sections, the preface, in particular. The research and examination reveal that Orange is adding his personal voice in the Prologue to the multiple narratorsof the novel, and his is the voice of a writer who knows that his audience comes to his novel with a plethora of misinformation. The truths he tells are horrifying and hopeful. He tells of Thanksgiving as a “land deal” and a “successful massacre,” but he also tellsreaders how urban Indians have found a sense of the land, even through concrete. Native American writers contributed and still contribute to the genre of autobiography in ways that have changed our understanding of this genre. This examination of Orange’s Prologue reveals the new and unexpected way to view this often under-examined introductory section, the prologue.

Keywords: native american literature, prologues, prefaces, 20th century american literature

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Authors: Oludare Olupemi Ezekiel

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This research examines the rhythmic structure of Sakara music by tracing its roots and analyzing the various rhythmic patterns of this neo-traditional genre, as well as the contributions of the major exponents and contemporary practitioners, using these as a model for understanding and establishing African rhythms. Biography of the major exponents and contemporary practitioners, interviews and participant observational methods were used to elicit information. Samples of the genre which were chosen at random were transcribed, notated and analyzed for academic use and documentation. The research affirmed that rhythms such as the Hemiola, Cross-rhythm, Clave or Bell rhythm, Percussive, Speech and Melodic rhythm and other relevant rhythmic theories were prevalent and applicable to Sakara music, while making important contributions to musical scholarship through its analysis of the music. The analysis and discussions carried out in the research pointed towards a conclusion that the Yoruba musicians are guided by some preconceptions and sound musical considerations in making their rhythmic patterns, used as compositional techniques and not mere incidental occurrence. These rhythmic patterns, with its consequential socio-cultural connotations, enhance musical values and national identity in Nigeria. The study concludes by recommending that musicologists need to carry out more research into this and other neo-traditional genres in order to advance the globalisation of African music.

Keywords: compositional techniques, globalisation, identity, neo-traditional, rhythmic theory, Sakara music

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Authors: Tuğçe Arslan

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In the dark and gloomy times of the Middle Ages, high, majestic, and frightening structures were revealed in the architectural field. Thus, gothic architecture began to find a place for itself in different areas and spread its influence. Gothic has found its place in almost every literary genre and manages to show itself as the dominant genre in the works it enters. It has exploited many concepts, such as a chest full of bad feelings, and creates a gloomy, scary, frightening, and pessimistic mood in the story with these concepts. One of the essential concepts it uses while creating these feelings is the concept of “Doppelganger.” With this concept, the authors make sense of the uncanny; at this point, they allow the spaces to act like characters, just like the uncanny feeling Edgar Allan Poe creates in his story “The Fall of the House of the Usher.” In this story by Edgar Allan Poe, attention should be paid to the symbolic link between the two, as “House of Usher” refers to the family and the building. And indeed, it is possible to see this minor rift as representative of a breakdown in family unity, specifically between Madeline and Roderick. Because although the home is not alive, it has some supernatural features that make it look like a living, breathing being. Therefore, the remainder of this paper will argue that apart from the apparent twins, the house should also qualify as a Doppelganger in the story. This study will first explore the physical and mental disorders of the twins and their journey to complement each other; next, in an attempt to demonstrate how the house as a non-living needs to be considered as a Doppelganger of the twins, a close reading on the house depictions will be scrutinized.

Keywords: Edgar Allan Poe, doppelganger, uncanny, gothic, space, home

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Authors: Wujian Han

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In the process of human interaction and communication, speech act verbs are considered to be the most active component and the main means for information transmission, and are also taken as an indication of the structure of linguistic behavior. The theoretical value and practical significance of such everyday built-in metalanguage have long been recognized. This paper, which is part of a bigger study, is aimed to provide useful insights for a more precise and systematic application to speech act verbs translation between English and Chinese, especially with regard to the degree to which generic integrity is maintained in the practice of translation of legal documents. In this study, the corpus, i.e. Chinese legal texts and their English translations, English legal texts, ordinary Chinese texts, and ordinary English texts, serve as a testing ground for examining contrastively the usage of English and Chinese directive speech act verbs in legal genre. The scope of this paper is relatively wide and essentially covers all directive speech act verbs which are used in ordinary English and Chinese, such as order, command, request, prohibit, threat, advice, warn and permit. The researcher, by combining the corpus methodology with a contrastive perspective, explored a range of characteristics of English and Chinese directive speech act verbs including their semantic, syntactic and pragmatic features, and then contrasted them in a structured way. It has been found that there are similarities between English and Chinese directive speech act verbs in legal genre, such as similar semantic components between English speech act verbs and their translation equivalents in Chinese, formal and accurate usage of English and Chinese directive speech act verbs in legal contexts. But notable differences have been identified in areas of difference between their usage in the original Chinese and English legal texts such as valency patterns and frequency of occurrences. For example, the subjects of some directive speech act verbs are very frequently omitted in Chinese legal texts, but this is not the case in English legal texts. One of the practicable methods to achieve adequacy and conciseness in speech act verb translation from Chinese into English in legal genre is to repeat the subjects or the message with discrepancy, and vice versa. In addition, translation effects such as overuse and underuse of certain directive speech act verbs are also found in the translated English texts compared to the original English texts. Legal texts constitute a particularly valuable material for speech act verb study. Building up such a contrastive picture of the Chinese and English speech act verbs in legal language would yield results of value and interest to legal translators and students of language for legal purposes and have practical application to legal translation between English and Chinese.

Keywords: contrastive analysis, corpus-based, directive speech act verbs, legal texts, translation between English and Chinese

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Authors: Josephine Mirador

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Too often, one hears teachers complaining about how uncritical students can be, yet the notion of ‘criticality’ may be subject to variable understandings or interpretations. One challenge facing postgraduate students is the writing of essays responding to a specific reading assignment. Such an essay requires students not only to summarise, but to engage in a discussion of the significant points of the article, pointing out its strengths as well as its weaknesses. This paper presents the results of an investigation on criticality in written assignments of postgraduate students in applied linguistics and TESOL. The guiding questions for this investigation were: -How ‘critical’ are postgraduate students when writing their assignments? -What kind of ‘critical’ comments are they able to offer? A total of 70 essays were analysed, using two sets of corpora in the initial and follow-through phases of the research from three different universities in Asia. The essays were written by MA applied linguistics and TESOL students. Students were told that the response essay should definitely not just summarise, but should offer a reflection or critique on the ideas presented in the subject article. The initial findings from the investigation include: the identification of at least 10 general ‘moves’ each of which has a number of possible specific categories; presence of critique ‘nodes’ as distinguished from ‘support’ comments; and the identification of at least 4 moves as the most recurrent and possibly obligatory categories. This investigation has unearthed a few more questions or issues that are definitely worth investigating as extensions of this research, and will be of interest (most especially) to genre analysts and teachers of writing.

Keywords: criticality, discourse and genre analysis, postgraduate students, applied linguistics

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Authors: Simon Winberg

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The landscape of professional postgraduate education is changing: the focus of these programmes is moving from preparing candidates for a life in academia towards a focus of training in expert knowledge and skills to support industry. This is especially pronounced in engineering disciplines where increasingly more complex products are drawing on a depth of knowledge from multiple fields. This connects strongly with the broader notion of Industry 4.0 – where technology and society are being brought together to achieve more powerful and desirable products, but products whose inner workings also are more complex than before. The changes in what we do, and how we do it, has a profound impact on what industry would like universities to provide. One such change is the increased demand for taught doctoral and Masters programmes. These programmes aim to provide skills and training for professionals, to expand their knowledge of state-of-the-art tools and technologies. This paper investigates one such course, namely a Software Defined Radio (SDR) Master’s degree course. The teaching support for this course had to be drawn from an existing pool of academics, none of who were specialists in this field. The paper focuses on the kind of educator, a ‘hybrid academic’, assembled from available academic staff and bolstered by research. The conceptual framework for this paper combines Activity Theory and Genre Ecology. Activity Theory is used to reason about learning and interactions during the course, and Genre Ecology is used to model building and sharing of technical knowledge related to using tools and artifacts. Data were obtained from meetings with students and lecturers, logs, project reports, and course evaluations. The findings show how the course, which was initially academically-oriented, metamorphosed into a tool-dominant peer-learning structure, largely supported by the sharing of technical tool-based knowledge. While the academic staff could address gaps in the participants’ fundamental knowledge of radio systems, the participants brought with them extensive specialized knowledge and tool experience which they shared with the class. This created a complicated dynamic in the class, which centered largely on engagements with technology artifacts, such as simulators, from which knowledge was built. The course was characterized by a richness of ‘epistemic objects’, which is to say objects that had knowledge-generating qualities. A significant portion of the course curriculum had to be adapted, and the learning methods changed to accommodate the dynamic interactions that occurred during classes. This paper explains the SDR Masters course in terms of conflicts and innovations in its activity system, as well as the continually hybridizing genre ecology to show how the structuring and resource-dependence of the course transformed from its initial ‘traditional’ academic structure to a more entangled arrangement over time. It is hoped that insights from this paper would benefit other educators involved in the design and teaching of similar types of specialized professional postgraduate taught programmes.

Keywords: professional postgraduate education, taught masters, engineering education, software defined radio

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Authors: Omar Khalifah

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The emergence of Muhammad Fadel’s 1996 film ‘Nasser 56’ ushered in a new era in Egyptian cinema. Not only was it the first biographical film of late Egyptian president Gamal ‘Abdel Nasser (1918-1970); it also broke a long-accepted taboo against cinematic depiction of modern political leaders. Passionately received by Egyptians and Arabs throughout the world, the success of ‘Nasser 56’ empowered other filmmakers to follow Fadel’s suit. Interestingly, the three biographical films that followed had, completely or partially, a Nasser dimension. In addition to another biographical film of Nasser, Anwar al-Qawadri’s ‘Gamal ‘Abdel Nasser’ (1999); Muhammad Khan’s ‘Ayyam al-Sadat (Days of Sadat)’ (2001), and Sherif Arafa’s ‘Halim (Halim)’ (2006) portray, as the titles clearly suggest, two significant figures whose lives thoroughly intersected with Nasser’s - Nasser’s successor Anwar al-Sadat and the legendary singer Abdel Halim Hafiz. Expectedly, therefore, Nasser himself is abundantly referenced in those films, albeit differently. This paper seeks to examine the ways in which Egyptian filmmakers impersonate Nasser on the screen. Starting with scholarly definitions of the biopic, the paper will first ponder the reasons that have made the biopic an unattractive genre to Egyptian filmmakers. It will then argue that the popularity of Nasser and his wide appeal to the public has transformed the status of the biopic genre in Egyptian cinema. However, the impersonation of Nasser in the four films above proved a daunting mission to filmmakers. As this paper will show, unless he is the main character, the reenactment of Nasser in films will constantly pose dilemmas to filmmakers, a few of which will be discussed in this paper.

Keywords: Ahmad Zaki, bio-pictures, Egyptian cinema, Nasser, Nasser 56

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Authors: Casey Keenan Joiner, Shayna Tayloe

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Classical voice training for the novice singer has long relied on the guidance and instruction of vocalise collections, such as those written and compiled by Marchesi, Lütgen, Vaccai, and Lamperti. These vocalise collections purport to encourage healthy vocal habits and instill technical longevity in both aspiring and established singers, though their scope has long been somewhat confined to the classical idiom. For pedagogues and students specializing in other vocal genres, such as musical theatre and CCM (contemporary commercial music,) low-impact and pertinent vocal training aids are in short supply, and much of the suggested literature derives from classical methodology. While the tenants of healthy vocal production remain ubiquitous, specific stylistic needs and technical emphases differ from genre to genre and may require a specified extension of vocal acuity. As musical theatre continues to grow in popularity at both the professional and collegiate levels, the need for specialized training grows as well. Pedagogical literature geared specifically towards musical theatre (MT) singing and vocal production, while relatively uncommon, is readily accessible to the contemporary educator. Practitioners such as Norman Spivey, Mary Saunders Barton, Claudia Friedlander, Wendy Leborgne, and Marci Rosenberg continue to publish relevant research in the field of musical theatre voice pedagogy and have successfully identified many common MT vocal faults, their subsequent diagnoses, and their eventual corrections. Where classical methodology would suggest specific vocalises or training exercises to maintain corrected vocal posture following successful fault diagnosis, musical theatre finds itself without a relevant body of work towards which to transition. By analyzing the existing vocalise literature by means of a specialized set of parameters, including but not limited to melodic variation, rhythmic complexity, vowel utilization, and technical targeting, we have composed a set of vocalises meant specifically to address the training and conditioning of adult musical theatre voices. These vocalises target many pedagogical tenants in the musical theatre genre, including but not limited to thyroarytenoid-dominant production, twang resonance, lateral vowel formation, and “belt-mix.” By implementing these vocalises in the musical theatre voice studio, pedagogues can efficiently communicate proper musical theatre vocal posture and kinesthetic connection to their students, regardless of age or level of experience. The composition of these vocalises serves MT pedagogues on both a technical level as well as a sociological one. MT is a relative newcomer on the collegiate stage and the academization of musical theatre methodologies has been a slow and arduous process. The conflation of classical and MT techniques and training methods has long plagued the world of voice pedagogy and teachers often find themselves in positions of “cross-training,” that is, teaching students of both genres in one combined voice studio. As MT continues to establish itself on academic platforms worldwide, genre-specific literature and focused studies are both rare and invaluable. To ensure that modern students receive exacting and definitive training in their chosen fields, it becomes increasingly necessary for genres such as musical theatre to boast specified literature and a collection of musical theatre-specific vocalises only aids in this effort. This collection of musical theatre vocalises is the first of its kind and provides genre-specific studios with a basis upon which to grow healthy, balanced voices built for the harsh conditions of the modern theatre stage.

Keywords: voice pedagogy, targeted methodology, musical theatre, singing

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Authors: Jack Johnstone

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This research presents postcolonial translation as an approach to eradicate traces of colonialism in former colonies. An example of demonstrating postcolonial translation in the Indonesian context is in Hasan Aspahani's Chairil, a biographical narrative and history book based on the personal life of a well-known Indonesian poet and writer, Chairil Anwar (1922-1949) in Dutch occupied Indonesia. This postcolonial translation approach has been applied in the first five chapters on his early years under Dutch colonization, in an attempt to show a postcolonialised TT. This approach aims to demonstrate the postcolonial refutation of the Dutch colonial language to convey the Indonesian setting to target readers. It is also designed to explicate the summary of the book as well as my attempt to apply postcolonial translation as a strategy to reject the Dutch colonial terms in this book. The data conveys 26 important examples of the ST and TT, in consideration of the chosen three factors of culture, forced-Europeanisation, and cross-genre between a biographical narrative and history under categories of Cultural Bound Objects, Politics and Place. However, the 10 selected examples will be analyzed in the Analysis Chapter, which are discussed at word, sentence, and paragraph level. As well, the translation strategies used, namely retention, substitution and specification on four main examples, on the methods utilized to achieve a postcolonialised translation that attempts to 1) examine the way the alteration of the TT can affect the message portrayed within the ST, 2) show the notion of disagreement between the Dutch colonizers and colonized Indonesians on their views on the way Indonesia should be governed and 3) present a translation that reverses the inequality between the superior colonials and inferior Indigenous Indonesians during the Dutch colonial era.

Keywords: Chairil, Dutch colonialism, Indonesia, postcolonial translation

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Authors: Sara Ramos Contioso

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The premiere of Anton Bruckner's Requiem in Dm, in September 1849, represents a turning point in the composer's creative evolution. This Mass of the Dead, which was dedicated to the memory of his esteemed friend and mentor Franz Sailer, establishes the beginning of a new creative aesthetic in the composer´s production and links its liturgical development, which is contextualized in the monastery of St. Florian, to the use of a range of musicals possibilities that are projected by Bruckner on an orchestral texture with choir and organ. Set on a strict tridentine ritual model, this requiem exemplifies the religious aesthetics of a composer that is committed to the Catholic faith and that also links to its structure the reinterpretation of a religious model that, despite being romantic, shows a strong influence derived from the baroque or the Viennese Classicism language. Consequently, the study responds to the need to show the survival of the Requiem Mass within the romantic context of Vienna. Therefore, it draws on a detailed analysis of the score and the creative context of the composer with the intention of linking the work to the tradition of the genre and also specifying the stylistic particularities of its musical model within a variability of possibilities such as the contrasting precedents of Mozart, Haydn, Cherubini or Berlioz´s requiems. Tradition or modernity, liturgy or concert hall are aesthetic references that will condition the development of the Requiem Mass in the middle of the nineteenth century. In this context, this paper tries to recover Bruckner's Requiem in Dm as a musical model of the romantic ritual of deceased and as a stylistic reference of a creative composition that will condition the development of later liturgical works such as Liszt or DeLange (1868) ones.

Keywords: liturgy, religious symbolism, requiem, romanticism

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Authors: Albina Vodyanitskaya

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Given the culture- and language-specific nature of evaluation, this phenomenon is widely studied around the linguistic world and may be regarded as a challenge for translators. Evaluation penetrates all the levels of a scientific text, influences its composition and the reader’s attitude towards the information presented. One of the most challenging and rarely studied phenomena is the individual style of the scientific writer, which is mostly reflected in the use of evaluative language means. The evaluative and expressive potential of a scientific text is becoming more and more welcoming area for researchers, which stems in the shift towards anthropocentric paradigm in linguistics. Other reasons include: the cognitive and psycholinguistic processes that accompany knowledge acquisition, a genre-determined nature of a scientific text, the increasing public concern about the quality of scientific papers and some such. One more important issue, is the fact that linguists all over the world still argue about the definition of evaluation and its functions in the text. The author analyzes various approaches towards the study of evaluation and scientific texts. A comparative analysis of English and Russian dissertations and other scientific papers with regard to evaluative language means reveals major differences and similarities between English and Russian scientific style. Though standardized and genre-specific, English scientific texts contain more figurative and expressive evaluative means than the Russian ones, which should be taken into account while translating scientific papers. The processes that evaluation undergoes while being expressed by means of a target language are also analyzed. The author offers a target-language-dependent strategy for the translation of evaluation in English and Russian scientific texts. The findings may contribute to the theory and practice of translation and can increase scientific writers’ awareness of inter-language and intercultural differences in evaluative language means.

Keywords: academic discourse, evaluation, scientific text, scientific writing, translation

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Authors: Chin Pang Lei

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Colonized by the UK, handed over to China, and now as a global financial city, Hong Kong’s history is never easy to write under the dominant discourses of colonialism, nationalism and globalization. In this plight, cinema, regarded as Hong Kong’s most representative cultural form, is used for writing, exploring and questioning the local history of the city. In their writing of the past, Hong Kong directors such as Wong Kar-wai, Stanley Kwan and Tsui Hark have demonstrated alternative ways of historicizing Hong Kong. Despite their interests in different periods of time (Wong is obsessed with the 1960s; Kwan is attracted to the 1930s; Tsui often goes back to the early 20th century), all these directors use genres as their time machines to revisit the past. As a popular cultural form, genres always come with a series of ideologies which define our lives and explain the society. Hence, in a changing society, genres change and complicate themselves with different packages of meanings. Genres function as open-ended and corrigible schemata which can contain multiple themes and various meanings. In Hong Kong, genres, often seen as highly commercial and overly market-oriented, are opportunities for alternative history writing and the exploration of local identities. This paper examines how these Hong Kong directors use the popular forms of genres, such as melodrama, martial art and gangster films, to present the past, and how the stories of the fictional characters, such as prostitutes, martial artists and jobless hooligans mobilize imagination of history. These texts show that genre is a crucial platform for Hong Kong’s post-colonial self-writing. Via genres, history in these films is against official and canonical history as well as grand narrative. Genres as time machines articulate a voice for Hong Kong.

Keywords: Hong Kong cinema, genre, historicizing, local history, Wong Kar-Wai

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Authors: Aruna Bommareddi

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The journey of the novel is well examined in Indian academia as an offshoot of the novel in English. There have been many attempts to understand aspects of the early novel in India which shared a commonality with the English novel. The regional novel has had an entirely different trajectory which is mapped in the paper. The main focus of the paper would be to look at the historical emergence of the genre of the regional novel in Indian Literatures with specific reference to Kannada, Hindi, and Bengali. The selection of these languages is guided not only by familiarity with these languages as also based on the significance that these languages enjoy in the sub-continent and for the emergence of the regional novel as a specific category in these languages. The regional novels under study are Phaneeswaranath Renu’s Maila Anchal, Tarashankar Bandopadhyaya’s Ganadevata, and Kuvempu’s House of Kanuru for exploration of the themes of its emergence and some aspects of the regional novel common to and different from each other. The paper would explore the various movements that have shaped the genre regional novel in these Literatures. Though Phaneeswarnath Renu’s Maila Anchal is published in 1956, the novel is set in pre-Independent India and therefore shares a commonality of themes with the other two novels, House of Kanuru and Ganadevata. All three novels explore themes of superstition, ignorance, poverty, and the interventions of educated youth to salvage the crises in these backward regional worlds. In fact, it was Renu who assertively declared that he was going to write a regional novel and hence the tile of the first regional novel in Hindi is Maila Anchal meaning the soiled border. In Hindi, anchal also means the region therefore, the title is suggestive of a dirty region as well. The novel exposes the squalor, ignorance, and the conflict ridden life of the village or region as opposed to the rosy image of the village in literature. With this, all such novels which depicted conflicts of the region got recognized as regional novels even though they may have been written prior to Renu’s declaration. All three novels under study succeed in bringing out the complexity of rural life at a given point of time in its history.

Keywords: bengali, hindi, kannada, regional novel, telugu

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Authors: Vince Liégeois

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Language of immediacy and distance: Within their discourse theory, Koch & Oesterreicher establish a distinction between a language of immediacy and a language of distance. The former refers to those discourses which are oriented more towards a spoken norm, whereas the latter entails discourses oriented towards a written norm, regardless of whether they are realised phonically or graphically. This means that an utterance can be realised phonically but oriented more towards the written language norm (e.g., a scientific presentation or eulogy) or realised graphically but oriented towards a spoken norm (e.g., a scribble or chat messages). Research desiderata: The methodological approach from Koch & Oesterreicher has often been criticised for not providing a corpus-linguistic methodology, which makes it difficult to work with quantitative data or address large text collections within this research paradigm. Consequently, the Koch & Oesterreicher approach has difficulties gaining ground in those research areas which rely more on corpus linguistic research models, like text linguistics and LSP-research. A combinatory approach: Accordingly, we want to establish a combinatory approach with corpus-based linguistic methodology. To this end, we propose to (i) include data about the context of an utterance (e.g., monologicity/dialogicity, familiarity with the speaker) – which were called “conditions of communication” in the original work of Koch & Oesterreicher – and (ii) correlate the linguistic phenomenon at the centre of the inquiry (e.g., evaluation markers) to a group of linguistic phenomena deemed typical for either distance- or immediacy-language. Based on these two parameters, linguistic phenomena and texts could then be mapped on an immediacy-distance continuum. Pilot study: To illustrate the benefits of this approach, we will conduct a pilot study on evaluation phenomena in French television weather reports, a form of domain-sensitive discourse which has often been cited as an example of a “text genre”. Within this text genre, we will look at so-called “evaluation markers,” e.g., fixed strings like bad weather, stifling hot, and “no luck today!”. These evaluation markers help to communicate the coming weather situation towards the lay audience but have not yet been studied within the Koch & Oesterreicher research paradigm. Accordingly, we want to figure out whether said evaluation markers are more typical for those weather reports which tend more towards immediacy or those which tend more towards distance. To this aim, we collected a corpus with different kinds of television weather reports,e.g., as part of the news broadcast, including dialogue. The evaluation markers themselves will be studied according to the explained methodology, by correlating them to (i) metadata about the context and (ii) linguistic phenomena characterising immediacy-language: repetition, deixis (personal, spatial, and temporal), a freer choice of tense and right- /left-dislocation. Results: Our results indicate that evaluation markers are more dominantly present in those weather reports inclining towards immediacy-language. Based on the methodology established above, we have gained more insight into the working of evaluation markers in the domain-sensitive text genre of (television) weather reports. For future research, it will be interesting to determine whether said evaluation markers are also typical for immediacy-language-oriented in other domain-sensitive discourses.

Keywords: corpus-based linguistics, evaluation markers, language of immediacy and distance, weather reports

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Authors: Lucia Rottava

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The present study focuses on academic literacy and addresses the impact of semantic-discursive resources on the constitution of genres that are produced in such context. The research considers the development of writing in the academic context in Portuguese. Researches that address academic literacy and the characteristics of the texts produced in this context are rare, mainly with focus on the development of writing, considering three variables: the constitution of the writer, the perception of the reader/interlocutor and the organization of the informational text flow. The research aims to map the semantic-discursive resources of the written register in texts of several genres and produced by students in the first semester of the undergraduate course in letters. The hypothesis raised is that writing in the academic environment is not a recurrent literacy practice for these learners and can be explained by the ontogenetic and phylogenetic nature of language development. Qualitative in nature, the present research has as empirical data texts produced in a half-yearly course of Reading and Textual Production; these data result from the proposition of four different writing proposals, in a total of 600 texts. The corpus is analyzed based on semantic-discursive resources, seeking to contemplate relevant aspects of language (grammar, discourse and social context) that reveal the choices made in the reader/writer interrelationship and the organizational flow of the text. Among the semantic-discursive resources, the analysis includes three resources, including (a) appraisal and negotiation to understand the attitudes negotiated (roles of the participants of the discourse and their relationship with the other); (b) ideation to explain the construction of the experience (activities performed and participants); and (c) periodicity to outline the flow of information in the organization of the text according to the genre it instantiates. The results indicate the organizational difficulties of the flow of the text information. Cartography contributes to the understanding of the way writers use language in an effort to present themselves, evaluate someone else’s work, and communicate with readers.

Keywords: academic writing, portuguese mother tongue, semantic-discursive resources, sistemic funcional linguistic

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Authors: Kateryna Nykytchenko

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Modern fiction and non-fiction writers commonly use their own lexical and stylistic devices to capture a reader’s attention and bring certain thoughts and feelings to his reader. Among such devices is the appearance of one of the neologic notions – individual author’s formations: occasionalisms or nonce words. To a significant extent, the host of examples of new words occurs in chick lit genre which has experienced exponential growth in recent years. Chick Lit is a new-millennial postfeminist fiction which focuses primarily on twenty- to thirtysomething middle-class women. It brings into focus the image of 'a new woman' of the 21st century who is always fallible, funny. This paper aims to investigate different types of occasional word-formation which reflect cognitive mechanisms of conveying women’s perception of the world. Chick lit novels of Irish author Marian Keyes present genuinely innovative mixture of forms, both literary and nonliterary which is displayed in different types of occasional word-formation processes such as blending, compounding, creative respelling, etc. Crossing existing mental and linguistic boundaries, adopting herself to new and overlapping linguistic spaces, chick lit author creates new words which demonstrate the result of development and progress of language and the relationship between language, thought and new reality, ultimately resulting in hybrid word-formation (e.g. affixation or pseudoborrowing). Moreover, this article attempts to present the main characteristics of chick-lit fiction genre with the help of the Marian Keyes’s novels and their influence on occasionalisms. There has been a lack of research concerning cognitive nature of occasionalisms. The current paper intends to account for occasional word-formation as a set of interconnected cognitive mechanisms, operations and procedures meld together to create a new word. The results of the generalized analysis solidify arguments that the kind of new knowledge an occasionalism manifests is inextricably linked with cognitive procedure underlying it, which results in corresponding type of word-formation processes. In addition, the findings of the study reveal that the necessity of creating occasionalisms in postmodern fiction novels arises from the need to write in a new way keeping up with a perpetually developing world, and thus the evolution of the speaker herself and her perception of the world.

Keywords: Chick Lit, occasionalism, occasional word-formation, cognitive linguistics

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Authors: Ilya A. Snegirev

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The article focuses on the comparative study of Russian military poetry of the 20th century. To make a complete description, the verse of different genres, mainly minor lyrical form, is taken. The study makes it possible to emphasize the idea that genre is not completely representative for a comprehensive research, as it is also necessary to dwell upon the strategies of war description in verse. Furthermore, the tendency of lyrical hero individualization is noted. This tendency can be traced throughout the whole second half of the 20th century – the poets of the Second World War – and further, to the whole post-war poetry. To characterize these changes, the texts by K.M. Simonov and A.A. Surkov are being analyzed as the examples of the qualitative transition to an individual hero.

Keywords: literature’s evolution, narrator, storytelling poetry, tradition

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Authors: Athanasios Karasimos, Vasiliki Makri

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This research focuses on the design and development of the first text Corpus based on Board Game Rulebooks (BGRC) with direct application on the morphological analysis of neologisms and tendencies in word-formation processes. Corpus linguistics is a dynamic field that examines language through the lens of vast collections of texts. These corpora consist of diverse written and spoken materials, ranging from literature and newspapers to transcripts of everyday conversations. By morphologically analyzing these extensive datasets, morphologists can gain valuable insights into how language functions and evolves, as these extensive datasets can reflect the byproducts of inflection, derivation, blending, clipping, compounding, and neology. This entails scrutinizing how words are created, modified, and combined to convey meaning in a corpus of challenging, creative, and straightforward texts that include rules, examples, tutorials, and tips. Board games teach players how to strategize, consider alternatives, and think flexibly, which are critical elements in language learning. Their rulebooks reflect not only their weight (complexity) but also the language properties of each genre and subgenre of these games. Board games are a captivating realm where strategy, competition, and creativity converge. Beyond the excitement of gameplay, board games also spark the art of word creation. Word games, like Scrabble, Codenames, Bananagrams, Wordcraft, Alice in the Wordland, Once uUpona Time, challenge players to construct words from a pool of letters, thus encouraging linguistic ingenuity and vocabulary expansion. These games foster a love for language, motivating players to unearth obscure words and devise clever combinations. On the other hand, the designers and creators produce rulebooks, where they include their joy of discovering the hidden potential of language, igniting the imagination, and playing with the beauty of words, making these games a delightful fusion of linguistic exploration and leisurely amusement. In this research, more than 150 rulebooks in English from all types of modern board games, either language-independent or language-dependent, are used to create the BGRC. A representative sample of each genre (family, party, worker placement, deckbuilding, dice, and chance games, strategy, eurogames, thematic, role-playing, among others) was selected based on the score from BoardGameGeek, the size of the texts and the level of complexity (weight) of the game. A morphological model with morphological networks, multi-word expressions, and word-creation mechanics based on the complexity of the textual structure, difficulty, and board game category will be presented. In enabling the identification of patterns, trends, and variations in word formation and other morphological processes, this research aspires to make avail of this creative yet strict text genre so as to (a) give invaluable insight into morphological creativity and innovation that (re)shape the lexicon of the English language and (b) test morphological theories. Overall, it is shown that corpus linguistics empowers us to explore the intricate tapestry of language, and morphology in particular, revealing its richness, flexibility, and adaptability in the ever-evolving landscape of human expression.

Keywords: board game rulebooks, corpus design, morphological innovations, neologisms, word-formation processes

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Authors: KongQue

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Palestinian novelist Anwar Hamed’s work "The Key" is a science fiction that profoundly metaphors the Palestinian issue. In the novel, Anwar Hamed uses the "key", a popular symbol of Palestinian resistance culture, to symbolize the history of "Nakba" and the Palestinians' right to return, and uses the ghost lingering outside the door of the Israelis as a metaphor Palestinians and the Palestinian issue, for being covered, hidden, and turned a blind eye. Through the literary genre of science fiction, Anwar Hamed continues the literary tradition of Palestinian writers recreating the historical trauma of the Palestinians, explores the causes of the inability to communicate between Palestine and Israel, and attempts to reawaken concern over the plight of Palestinian refugees.

Keywords: palestine, key, science fiction, arabic literature

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