https://journal.fi/store/issue/feed Studia Orientalia Electronica 2018-07-16T11:22:23+03:00 Albion M. Butters albion.butters@utu.fi Open Journal Systems <p><em>Studia Orientalia</em> is an internationally recognized publication series of Asian and African studies. It is published by the Finnish Oriental Society. In addition to monographs and thematic collections of articles, some volumes have been regularly dedicated to high-quality articles on all fields of Asian and African studies. In fact, the first volume of <em>Studia Orientalia</em> in 1925 was such an article volume.<br>From the beginning of 2013, these article volumes have&nbsp;appeared in this new publication series, <em>Studia Orientalia Electronica</em>. StOrE is a peer-reviewed, Open Access journal with continuous submission. With this new journal we hope to reach a wider&nbsp; audience and also speed up our publication process.</p> https://journal.fi/store/article/view/66010 Masks in the Iraqi Hell 2018-07-09T11:53:28+03:00 Geula Elimelekh geula180@gmail.com <p>ʿAbd al-Sattār Nāṣir (1947–2013) belonged to the group of Iraqi writers and intellectuals called <em>Jīl al-Sittināt</em> "the Sixties Generation", which dominated the cultural scene at the time.</p> <p>This article examines Nāṣir as a driven writer, who initially wrote out of a morally induced reaction to expose the suffering and brutalization of all Iraqi peoples and ethnicities by a controlling totalitarian regime, and as a once-incarcerated author of brave novels he hoped would someday catalyze a popular overthrow of the lawless, abusive leaders, thereby ending the fears and violence possessing Iraq’s body politic. Two themes -- the destruction wreaked by those with extraordinary power <em>and</em> their use of lies and deception to control the people –- are central to the three novels chosen as representative of Nāṣir’s oeuvre: <em>Abū al-Rīsh</em> (2002), <em>Niṣf al-Aḥzān</em>&nbsp;'Half Sorrows' (2000) and <em>Qushūr al-Badhinjān</em>&nbsp;'Eggplant Peels' (2007).</p> <p>In these three novels, Nāṣir exposes the unimaginable terror, violence and cruelty of Saddām Ḥusayn and his henchmen, as well as their propaganda, which consisted of lies and deception. Saddām is depicted as a ruler who presents himself as an inspiring revolutionary, but in fact is a tyrant who deceives the citizens, subjecting them to brutal control and leading them into deadly wars.&nbsp;</p> <p>Following George Orwell’s <em>1984</em>, Nāṣir’s literary corpus attempts to rip the masks from the faces of the dictator and his lackeys, who oppress the people, deny them any freedom of thought and keep them under constant surveillance.</p> 2018-06-06T00:00:00+03:00 ##submission.copyrightStatement## https://journal.fi/store/article/view/69685 The Quotative in Bashkir 2018-07-16T11:22:23+03:00 Teija Greed teija_greed@sil.org <p>Evidentiality is a widely researched category in contemporary linguistics, both from the viewpoint of grammatical expression and also that of semantics/pragmatics. Amongst markers expressing information source is the illocutionary evidential quotative, which codes a speech report with an explicit reference to the quoted source. This article investigates the quotative particle <em>tip</em> in Bashkir, a Kipchak-Bulgar Turkic language spoken in the Russian Federation. In its default quotative meaning, <em>tip</em> signals direct speech and functions as a syntactic complementiser. This function was found to have extended from spoken utterances to coding thoughts and experiences in the context of semi-direct speech. A separate function of <em>tip</em> is its use as an adverbialiser signalling a logical relation and conveying the meaning of intention/purpose.</p> <p>Different categories were found to interact in the functions of <em>tip</em>. In the context of semi-direct speech, the meaning <em>tip</em> conveys is linked with the semantic dimension of subjectivity, which pertains to the cognitive processing and expressing of information by the speaker/experiencer. The interplay of the marker <em>tip</em> was investigated in conjunction with ten complement-taking verbs, whose degree and strength of subjectivity were found to range from neutral to strong. When combined with <em>küreü</em> ‘see’, <em>tip</em> introduces visual ambiguity and epistemic uncertainty, for example, in dream scenes. With the verbs <em>beleü</em> ‘know’ and <em>išeteü</em> ‘hear’, <em>tip</em> conveys a multisubjective meaning: in addition to signalling what the experiential subject has heard or found out, the marker also codes the involvement of some other subject, the original source, thus giving voice to multiple speakers and merging them.</p> 2018-07-16T11:21:50+03:00 ##submission.copyrightStatement## https://journal.fi/store/article/view/68894 Review of Joonas Maristo & Andrei Sergejeff: Aikamme monta islamia 2018-07-09T11:53:25+03:00 Risto Marjomaa Risto.Marjomaa@helsinki.fi 2018-06-07T00:00:00+03:00 ##submission.copyrightStatement## https://journal.fi/store/article/view/69724 Review of Katriina Ranne: The Image of Water in the Poetry of Euphrase Kezilahabi 2018-07-09T11:53:23+03:00 Roberto Gaudioso roberto.lumuli.gaudioso@gmail.com 2018-06-07T14:52:15+03:00 ##submission.copyrightStatement##