Academic literature on the topic 'Gentle heroine'

The purpose of this study is to revealed the women image portrayed in selected Disney’s stories. There are several stories of Disney’s movie adaptation that are used as object in this research. There are Sleeping Beauty (Disney, 2014), Snow White (Brothers Grimm, 1812), Beauty and The Beast (Gabrielle-Suzanne Barbot, 1740), Cinderella (Giambattista Basile, 1634), Mulan (Guo Maoqian, 1992), and Brave (Disney, 2012). In addition, the aim of this research is also to identify the characteristics of female characters in selected Disney’s stories related to the Heroine and Princess attitude. This study used qualitative research; descriptive qualitative methods are used to analyze data. This study used three main concepts of semiotics theory by Roland Barthes, there are meaning of denotation, connotation, and myth. This study also applied feminism approach accordance to women attitude as heroine and princess. In this study, the researcher found some results. First, this study indicated the women image portrayed in Disney’s stories contains two images, they are women as heroine and princess. Women image as heroine is revealed in Beauty and the Beast, Mulan and Brave. Meanwhile, women as princess is portrayed in Sleeping Beauty, Snow White and Cinderella. Then, there are several characteristics found in Disney’s stories that represent the woman’s character as heroine and princess. They are from the feminism such as submissive, kind and gentle, domestic role, damsel in distress, emotional balance, craving for freedom (independent and brave), willing to sacrifice and has ability to stand up to the antagonist.

Background. Domestic cultural space is in urgent need of selfpreservation, and a renaissance of national self-identity of the Ukrainian cinema is connected with the state interest in this topic. There are the discussions around the attempts to revive the Ukrainian poetic cinema with its inherent mythological outlook erasing the boundaries between imaginary and real. It is logical, that the further development and studying of national cinema is impossible without revise of creative work of actors of the past; they were the bearers of poetic worldview, guided by folk traditions and customs. The tendency to the study of the forgotten names would help to bring back to their proper place the classics of Ukrainian cinematography. In the national scientific circles, there is an interest in the revival of forgotten names of cultural figures, and theater and filmmakers, in particular. Nevertheless, creativity of some Kharkiv actors, among them, Polina Kumanchenko and Lidia Krynytska, undeservedly deprived of attention in the scientific environment. The object of this research is the creativity of representatives of the Kharkiv acting school – Polina Kumanchenko and Lidiya Krynytska. The aim of the author is to study the performing manner of the actresses, to identify the peculiar facets of their playing, and, as a result, the certain traditions that are inherent the Kharkiv local artistic environment. The interpretation of the image of a mother in the performance of the mentioned actors is the subject of studying. Methods of analysis, synthesis, classification are the basis of this study and used for the scientific validity of the findings. We used the method of comparison in the considering of the mother images created by Kumanchenko and Krynytska. Research results. As the key in the cultural aspect, should be considered the fact that the image of the mother in Ukrainian mentality is iconic, associated with the image of the Earth, since the essence of both is the function of the “giver of life”, fertility. The worldview of Maria, the personage of P. Kumanchenko, is fixated on owning the land, because thanks to her, a person exists and continues his family. Like her ancestors, Maria is going to become a link in the further transfer of land to her descendants, passing to them the “genetic code” of love of Ukrainian peasants for the Earth. She is expecting a second child, and therefore, through her actions, she seeks to provide her children with stability, which is possible only with land. The actress focuses the attention of the viewer on expressive gestures, sudden movements to emphasize the active behavior of her heroine; at the same time, the extremely expressive regard of P. Kumanchenko, shown in close-up, convey the true thoughts and feelings of Maria, whose soul inhabits somewhere in her own, unreal world. In the first of the films of the trilogy by M. Makarenko (director) –“Human’s blood is not water”, – the actor’s decision of P. Kumanchenko presents a presentiment of happiness and stability that arises in her heroine’s soul against the background of her everyday suffering life – just like the Earth awaits spring blossoming after a long winter. Later we observe the changes that have occurred in the character of Maria along with her motherhood and confidence in the future. The actress gives her heroine a new external expressiveness: smooth movements, a gentle mysterious smile, elusive tenderness. The second part of the trilogy (“Dmytro Horytsvit”), presents P. Kumanchenko in a small episode. We see her in the light national costume, with tragic wringed hands, against the background of the burning home, where her child remained. The episode can be interpreted as an allegory: a mockery of fertile land devastated by fires, wars, destruction. However, just as a new cycle is needed for a ravaged Earth to bloom again, so for Maria the salvation of her daughter becomes the impetus for a new rebirth. The main idea of the film is embedded in this episode – the eternal pain of the Ukrainian land and its eternal revival. Based on the analysis of the role of Maria in the interpretation of P. Kumanchenko, we can talk about the embodiment in the mother image the idea of cyclicity of nature and life, coming from the ancient cults of the Earth. Thus, the influence of mythopoetics traced in the images created by the actresses, due to their symbolic similarity with the image of the mythological Mother Earth. In the film “Lymerivna” (directed by V. Lapoknysh) the image of a mother was created by actress L. Krynytska, which played Lymerykha – the mother of the main heroine. This is a passive woman, broken by life circumstances, who is going with the stream and is not able to deal with everyday problems. It would seem that both, Maria and Lymerykha, are united by a love for children and a desire to give them happiness. However, each of them has its own strategy of behavior. Unlike Maria, Lymerykha made tears the main tool on the way to her aim – to break the will of her daughter. It was her tears pushed Lymerykha’s daughter to a tragic death. The game of L. Krynitska outlines the “two-faced” path of the heroine’s behavior, reveals the “white” and “black” sides of her nature. That is, the actor’s task of L. Krynitska was to embody the image of a person with a “double bottom”. The manner of performing of this role may be partially explained by the etymology of the surname “Lymar”, which the heroine received when she got married. Lymar is a manufacturer, which make the harness for horses. Such a sign surname symbolizes her life – “horse harnessing”, a yoke that Lymerykha is afraid to throw off, because she does not know how to bear responsibility for her own destiny. There are also unifying links between the heroines of P. Kumanchenko and L. Krynytska: both manipulate by their motherhood. The cycles in the life events of both heroines are also clearly outlined. In Maria’s case, it is association with modifications in the state of the Earth due to natural changes in the seasons or terrible destructions, because of war or natural disasters. For Lymerykha, the cyclic existence is characterized, limited by the inability to overcome slavish psychology – to throw off the yoke, the “sword of Damocles,” which dominates her. In one of the scenes, the scenery symbolically emphasizes the essence of her being: a windmill, whose wings are constantly spinning. P. Kumanchenko and L. Krynytska are the Kharkiv actresses of the Drama Theater named after T. G. Shevchenko, and the influence of the actor’s system of his outstanding director Les Kurbas on the performing style of both cannot be overlooked. In the acting of the performers, the use of the “laws of Kurbas” is clearly traced: “the law of thrift”, “the law of fixation”, “the law of light-andshade”, etc. Conclusions. We analyzed both the differences and the unifying features in the interpretation of the image of the mother by Kharkov actresses. In the images created by P. Kumanchenko and L. Krynytska there is a relationship with the mythopoetic worldview. Тhanks to a number of artistic and meaningful associations, we can talk about the embodiment in the image of a woman-mother of the symbolic hypostases of Mother-Earth and the idea of the cyclical nature of life, which comes from ancient agricultural cults. The work with imaginary symbolism (a horse harness appears as a symbol of the enslavement of Women-Mother Earth) take place, as and a complete organics embodiment of the mythopoietic aspect inherent the Kharkiv acting school (Les Kurbas’s aesthetics) and, in general, the Ukrainian drama and cinema (A. Dovzhenko). A deeper analysis of various aspects of the performing work of Kharkiv actors, in particular, searching for the traditions in the actor’s game of Kharkovians, as well as more detailed studying of Les Kurbas’s methodological influence makes up the prospects of our study. The specifics of actor’s art of the Kharkiv school can serve as an example to follow in the training of actors and directors.

The ancient Greek novel introduced to the history of literature a new topos: the “complex of emotions.” This became a staple of storytelling and remains widely in use across a variety of genres to the present day. The Hellenistic Jewish text Joseph and Aseneth employs this topos in at least three passages, where it draws attention to the cognitive-emotional aspect of the heroine’s conversion. This is interesting for what it contributes to our understanding of the genre of Aseneth, but it also has social-historical implications. In particular, it supports the idea that Aseneth reflects concerns about Gentile partners in Jewish-Gentile marriages, that Gentile partners might convert out of expedience or that they might be less than fully committed to abandoning “idolatrous” attachments. The representations of deep, grievous, and complex emotions in Aseneth’s transformational turn from idolatry to monolatry, then, might play a psychagogic role for the Gentile reader interested in marrying a Jewish person.

Draupadi, the co-wife of the Pandava brothers, is an important character in the epic. She is known to have been the quintessence of beauty and femininity. Her life has largely been a plausible canvass of determination and a majestic display of integrity. She is often regarded as the first feminist voice who had raised concerns about women’s rights, wife’s rights and husband’s authority over the wife. Yet, there has been an enigmatic aspect to her character. The more one delves deeper into her character, the more one is confounded with Draupadi’s heroism. Her strength of character and unyielding will makes her a hero, more heroic and greater than the others. And hence, the paper tries to explore the heroic nature of Draupadi’s character- to unravel the ‘he’ in ‘her’.

Leitores de Camões têm observado que, para compor a matéria histórica de seu poema Os Lusíadas, o poeta se apega a uma suposta “verdade” que teria lido nas crônicas e ouvido na tradição oral. Os retratos da África e da Ásia que ele concebeu seriam fruto desse anseio pela “verdade” histórica. O presente artigo propõe, contrariamente, que Camões registrou uma verdade conveniente, atestada pelos interesses da nobreza da casa de Avis, compondo um retrato heroico da missão de Vasco da Gama, ao mesmo tempo em que omitiu práticas desumanas de seu projeto colonialista. Conhecendo de perto o jugo e a escravização dos povos africanos, o poeta ajustou a imagem da África e da Ásia à da figura do antagonista, evidenciando seu povo como gente inculta e inimiga da fé. Esse apagamento da história esconde o anseio de dominação sobre essa gente que se viu colonizada e escravizada nos séculos posteriores.

Monsters have always been a part of children fictional tales, representing the evil side of nature. They are the reason why heroes and heroines struggle to fight against, but at the same time they balance the whole realm, existing side by side with the heroes. There have been numerous children stories which depict the monsters as the villains, but they have rarely done so in portraying monsters as the wronged ones. In Holly Black’s Valiant (2005), the troll character named Ravus is presented as an outcast, a banished figure from his folk because of a misjudged rumor in his former kingdom. Unlike others who constantly challenge and trap humans, Ravus becomes a scholar who loves to explore his alchemy. He helps other outlaws to secure their well-being and health, even teaching Valerie the protagonist with her sword practicing, rescuing her whenever possible and eventually falling for her. The study highlights a new perspective on monstrous identity in a young adult book, making a counterpoint in presenting a fact that monsters can also be portrayed as very human and gentle instead of rude and dangerous.

Aims and MethodTo describe an enforced but gentle transition from prescribed intravenous methadone to oral methadone in 14 opiate-dependent patients. We examined their case notes looking for ease of transition, evidence of illicit drug use before and during the 6 months following transition and progress 3 years later.ResultsEight patients immediately stopped injecting, the remainder used intravenous heroin in addition to prescribed oral methadone for some months. There were no serious adverse events. Three years later, four patients had ceased opiate use altogether and six were maintained on oral methadone (five of these without illicit use). Two patients were prescribed oral methadone by their general practitioner and one was no longer in treatment.Clinical ImplicationsWe show that it is possible to alter the formulation of prescribed methadone without deterioration in clinical stability or losing patients from treatment. This is an important conclusion as it is presumed that one of the aims of treatment with intravenous methadone is to move patients away from injectable to oral use. Offering patients a transition period of 6 months and a choice of the process of transition may be helpful.

Kobna Holdbrook-Smith was a member of the repertory company formed by artistic director Nicolas Kent for the 2005–2006 African-American season at the Tricycle Theatre in north London. That company also included Jenny Jules, Joseph Marcell, Lucian Msamati, Carmen Munroe, and Nathan Osgood. In Walk Hard – Talk Loud by Abram Hill, a play originally produced in 1944 and set in New York in the late 1930s, Holdbrook-Smith played a young boxer who faces racism. In Lynn Nottage's contemporary satire Fabulation, he took on dual roles – the heroine's husband who absconds with her wealth, and the gentle ex-junkie who offers her love. And in August Wilson's Gem of the Ocean, set in Pittsburgh in 1904, his Citizen Barlow seeks purification from the 285-year-old spiritual adviser Aunt Ester and is taken on a symbolic rite of passage. The Ghanaian-born Holdbrook-Smith also appeared at the Tricycle in 2004–2005 in Mustapha Matura's Playboy of the West Indies. Terry Stoller, who teaches at Baruch College in New York City and is working on a book project about the Tricycle Theatre, spoke with Holdbrook-Smith in June 2006 in Covent Garden, London.

Democracy is revitalised when hard-nosed community action forces its influence on the policy-making processes. The mobilisation of community campaigns commences with community heroes who have the personal qualities that will not allow them to stand by and allow what they perceive to be unjust to continue. My primary interest is in civil society and the concept of a participatory democratic system. In this thesis I challenge the ability of liberalism’s notions of self-interested individuals, competitive markets and rational choice to protect environments and create sustainable communities. Civic republicanism and civic environmentalism operating through voluntary civil associations in a truly deliberative system of democracy are more likely to create sustainable communities. The thesis is about deliberative democracy and how the deliberation often commences at the grassroots level thanks to the heroic community leaders who fight for environmental justice. The heroes commence as political novices but as the conversation develops so does their political efficacy. The conversation expands from the micro of grassroots action into the meso arena of civil society, it is picked up in the public arenas of the press and broadcast media and through this the macro institutions of government are forced to join the public conversation. The course of the conversation gains momentum as it progresses from the micro realm of community concern, through the public conversations of civil society, to become an issue on the political agenda. Case studies are used as illustrations in a theoretical discussion of grassroots activism, civil society and the ideal of strong deliberative democracy. The case narratives use the metaphor of the adventurous journey of heroes who have to cross the threshold from their private lives to lead a public campaign against antagonists who present obstacles to fulfilment of the community’s objectives. This metaphor, or comparative model, is used to create a consistency in the narratives. The study concludes that deliberation is occurring at the micro and meso levels but the case studies presented here demonstrate that it has not yet become the mindset for governments and government agencies at the macro level. There is potential for deliberative democracy to produce more ecocentric decision-making by providing for community groups to participate in the pre-decision conversation. This potential is unlikely to be realised without community groups starting the conversation in the public sphere of civil society. The formation of groups requires competent leaders to come forward to lead the conversation. When this occurs more environmentally acceptable and sustainable decisions are made.

abstract: Photosynthesis is the primary source of energy for most living organisms. Light harvesting complexes (LHC) play a vital role in harvesting sunlight and passing it on to the protein complexes of the electron transfer chain which create the electrochemical potential across the membrane which drives ATP synthesis. phycobilisomes (PBS) are the most important LHCs in cyanobacteria. PBS is a complex of three light harvesting proteins: phycoerythrin (PE), phycocyanin (PC) and allophycocyanin (APC). This work has been done on a newly discovered cyanobacterium called Leptolyngbya Heron Island (L.HI). This study has three important goals: 1) Sequencing, assembly and annotation of the L.HI genome - Since this is a newly discovered cyanobacterium, its genome was not previously elucidated. Illumina sequencing, a type of next generation sequencing (NGS) technology was employed to sequence the genome. Unfortunately, the natural isolate contained other contaminating and potentially symbiotic bacterial populations. A novel bioinformatics strategy for separating DNA from contaminating bacterial populations from that of L.HI was devised which involves a combination of tetranucleotide frequency, %(G+C), BLAST analysis and gene annotation. 2) Structural elucidation of phycoerythrin - Phycoerythrin is the most important protein in the PBS assembly because it is one of the few light harvesting proteins which absorbs green light. The protein was crystallized and its structure solved to a resolution of 2Å. This protein contains two chemically distinct types of chromophores: phycourobilin and phycoerythrobilin. Energy transfer calculations indicate that there is unidirectional flow of energy from phycourobilin to phycoerythrobilin. Energy transfer time constants using Forster energy transfer theory have been found to be consistent with experimental data available in literature. 3) Effect of chromatic acclimation on photosystems - Chromatic acclimation is a phenomenon in which an organism modulates the ratio of PE/PC with change in light conditions. Our investigation in case of L.HI has revealed that the PE is expressed more in green light than PC in red light. This leads to unequal harvesting of light in these two states. Therefore, photosystem II expression is increased in red-light acclimatized cells coupled with an increase in number of PBS.
Dissertation/Thesis
Ph.D. Chemistry 2014

Chapter 2. Sappho to Phaon is Pope’s early venture into the world of Ovid’s Heroides, verse epistles from heroines. An erotically charged beginning is gradually softened by its writer, the sixth century BCE Greek lyricist Sappho, adopting the gentler, more peaceful language of the Pastorals.

Abstract Stories of seduction and betrayal, of orphaned, impoverished heroines of uncertain class origin, provided a narrative structure through which the instabilities of class and gender categories were both stabilized and undermined. Across the body and mind of “woman” as sign, through her multiple representations, bourgeois anxiety about identity is traced and retraced. A favorite plot, of which Jane Eyre is now the best-known example, sets the genteel heroine at sexual risk as semi-servant in a grand patriarchal household. This narrative theme allowed the crisis of middle-class femininity to be mapped on to the structural sexual vulnerability of all working-class servants in bourgeois employment. Such dramas were full of condensed meanings in excess of the representation of sexuality and sexual difference. A doubled scenario, in which the ideological and material difference between working-class and bourgeois women is blurred through condensation, it was popular as a plot for melodrama with both “genteel” and “vulgar” audiences.

By assessing early Śaiva and literary sources, this chapter demonstrates how Kālarātri-Nidrā-Kālī, Durgā's early form, was assimilated and transformed by Śaivism from the 5th century onwards, in which Durgā eventually acquired co-identity with Pārvatī, the consort and inalienable other half of the great god Śiva. Her dark complexion, a genetic feature of the Vaiṣṇava Nidrā, the sister of dark-hued Kṛṣṇa, is explained within this tradition as Pārvatī's rejected black skin, a symbol of mystery and danger, that she removes from her body to acquire a fairer complexion. The emergent goddess is the antonym of Pārvatī, a warrior virgin who, though a protector of Dharma, nevertheless remains potentially dangerous, as her earliest form Nidrā-Kālī. In this way, the Śaiva tradition views attributes of antinomianism, potentially within Pārvatī, to be transferred to Durgā, now known as Caṇḍikā, the Fiery Lady, Pārvatī's unwanted self, thereby enlarging the conception of the latter to a binary deity, who like Śiva, incorporates a gentle as well as a fierce or bhairava aspect. The chapter also argues that the goddess's capital-creating aspect was heightened in Śaivism. Navamī, initially a day when the goddess was said to be born, became crucial as one of the occasions when capital could be most profitably accessed from the goddess. What we find being developed from the earlier conception of the Vaiṣṇava Durgā and acquiring greater sophistication within Śaiva mythological and ritual domains is the ability of her spiritual repertoire to function as a religion for managing times of state crises and for granting largesse and power.

Abstract One of the [English major] requirements was a course in the eighteenth century. I hated the very idea of the eighteenth century, with all those smug men writing tight little couplets and being so dead keen on reason. So I’d skipped it. Set in the mid-1790s, the years immediately preceding both the Irish Rebellion and the first edition of Lyrical Ballads, Eavan Boland’s aptly titled “The Death of Reason” (1994) depicts the eighteenth century’s fiery passing. Flames overtake a catalogue of the century’s gentle arts and delicate goods, “the curve and pout / of supple dancing and the couplet rhyming”: And the dictates of reason and the blended sensibility of tact and proportion—yes the eighteenth century ends here as her hem scorches and the satin decoration catches fire. She is burning down. As a house might. As a candle will. She is ash and tallow. It is over.

Abstract These points have already been made with respect to proverbs, but they bear repeating. In the Haya proverb, “He who doesn’t travel says, ‘My mother cooks (best)”‘ (Atagencla ati, ‘Mae achumba’), insufficient experience and deficient judgment are implicitly contrasted with adequate experience and judgment to artiulate a theme more blandly expressed as “experience teaches.” The proverb’s theme creates meaning in conversation. Thus, from my analytic point of view, the theme of the quoted proverb is the causal relationship between experience and judgment rather than mother, child, nurturance, or any archetypal constellation of these symbols. Themes are culture-specific, abstract categories; they entail semantic associations and contrasts; they create meanings when used in performances.

Abstract Frances Twinn, a graduate student working on the fiction of Elizabeth Gaskell, points to a troubling inconsistency at the heart of Ruth. The narrative opens with a depiction of the poor-but-genteel heroine apprenticed to a harsh milliner, Mrs Mason, in ‘an assize town in one of the eastern counties’. It is ‘many years ago’ (p. 3). We should picture, it seems, a sleepy county town like Ipswich or Norwich in the 1830s. The heroine, Ruth Hilton, is an orphan. Her mother had been the daughter of a Norfolk curate –– a ‘delicate, fine lady’ (p. 36); her father had been a farmer –– a good-hearted but tragically unlucky man. The delicate Mrs Hilton died early of physical exhaustion, unable to cope with the physical demands of being a farmer’s wife. He followed soon after of a broken heart and bankruptcy. Ruth, alone in the world, falls into the unfeeling custody of a ‘hard-headed’ guardian, who disposes of the waif to Mrs Mason so as to be rid of her, at the small expense of her indenture fee.

Abstract Within less than a year of the appearance of The Faerie Queene the reading public was confronted by Spenser’s Complaints. Containing sundrie small Poemes of the Worlds Vanitie (1591). The epic poet now revealed himself as a satirist, or perhaps it might be more accurate to say that the satiric subtext of his heroic verse received explicit articulation.1 The Ruines of Time refers to a paradisal garden more beautiful than that ‘which Merlin by his Magickeflights | Made for the gentle squire, to entertaine | His fayre Belphcebe (523-5).

When most people think of the genre epic poem, they probably think of the great epics of antiquity and the Middle Ages. The further one follows literary history into the present, the rarer one encounters this art form. Two contemporary German-language authors, however, have deliberately chosen this form to tell heroine stories, in keeping with the tradition of the genre: Ann Cotten’s verse epic ‘Verbannt!’ (2016) and Anne Weber’s ‘Annette, ein Heldinnenepos’ (2020). Although both works are dedicated to the same form and function, they differ strikingly in both aspects.

Jane Austen is one of the most prominent writers of the 19th century. In terms of chronology, her six novels fall between the 18th-century neoclassical formality and the effusive romanticism after the 19th century. Her novels portray the socio-political and cultural landscape of Regency England even though her prose style, manner, and approach held no resemblance to her contemporaries. Austen seems to operate in a limited landscape and writes about what she is most familiar with birth, love, marriage, death, faith, and judgment. She details the tedious business of living of the gentry in her society and displays unrivaled knowledge of the upper middle class. Even though issues of women were at the crux of Austen’s writing, Austen is not considered to be a staunch feminist writer. She concentrated on upper-middle-class women whose marriage, and courtship were the cynosure of her plots as she thoroughly examines the right basis for marriage in her work. However, most of her heroines have been written off critically as the selfsame Cinderellas. Therefore, the monotonous aura engulfing Austenian heroines who are in search of marital bliss has been inadvertently appendaged to the Cinderella Complex and hence the prejudiced critique. Austenian heroines are said to lack passion and vibrancy and by extension, character. This paper intends to analyze the portrayal of two Austenian heroines in view of the Cinderella Complex with the objective of exploring these portrayals beyond the Cinderella archetype. Keywords: Victorian women, Cinderella Complex, marriage, self-discovery, happiness

Uzbekistan's journey toward independence prompted a profound reevaluation of its social, political, and spiritual landscape. This era witnessed a redefinition of literary concepts and criteria, leading to a more precise portrayal of history in literary works. Notably, these changes also influenced the storytelling genre, catalyzing its evolution. During this transformation, themes of freedom, national liberation, resistance against colonialism, and unwavering faith emerged as central narratives, previously considered too risky to explore in Uzbek literature. Instead, they became emblematic of national heroism. Understanding history became synonymous with self-awareness, with “Baburnama” by Babur, the founder of the Babur dynasty, serving as a faithful historical account. Inspired by “Boburnoma” Uzbek writers crafted unique narratives that continue to captivate readers. This study explores Uzbek historical narratives, drawing from the rich records within “Boburnoma”.

Представлен путь воплощения замысла серии «Герои России», над которой автор работал на протяжении последних лет. Акцентируется внимание на задачах серии, ее нравственном содержании и особенностях пластического решения отдельных произведений. На примере портретов Петра Первого, Михаила (Микаэла) Лорис-Меликова, адмирала флота Ивана Исакова и маршала Леонида Говорова показано значение классической традиции и образцов портретной скульптуры в работе современного подхода в жанре героического портрета. There is presented the way of embodiment of conception of “Heroes of Russia” series, on which the author works during several few years. There is outlined the aims of the series, its ethic content and peculiarities of plastic decision of singular works. On example of portraits of Peter the Great, Michael Loris-Melikov, Fleet Admiral Ivan Isakov, marshal Leonid Govorov there is presented the meaning of classical tradition and examples of portrait sculpture in the work of contemporary author in the genre of heroic portrait.