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Journal articles on the topic 'Heroic characteristics'
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Jinkyung Park. "Relationship between Fanship and Heroic Characteristics of Sport Stars." Korean Society for the Sociology of Sport 20, no. 1 (April 2007): 1–11. http://dx.doi.org/10.22173/jksss.2007.20.1.1.
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Hume, Janice. "Changing Characteristics of Heroic Women in Midcentury Mainstream Media." Journal of Popular Culture 34, no. 1 (June 2000): 9–29. http://dx.doi.org/10.1111/j.0022-3840.2000.3401_9.x.
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Kim, Yujin. "A Study on the narrative characteristics of Anti-Heroic Novels." Research of the Korean Classical Novel 49 (June 30, 2020): 107–39. http://dx.doi.org/10.23836/kornov.2020.49.107.
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Nezirović, Edin, Albina Plojović, and Elma Redžović. "Characteristics of the heroic epic through the example of the Niebelungenlied and the Gudrunlied." Univerzitetska misao - casopis za nauku, kulturu i umjetnost, Novi Pazar, no. 19 (2020): 86–99. http://dx.doi.org/10.5937/univmis2019086n.
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Names such as Goethe, Hesse and literary writers alike are, to the reading public, synonymous for German literature. It is discouraging to see how German heroic epics have not achieved world wide acclaim and popularization, yet their quality precedes that of many bestsellers. Many experts even consider the Nibelungenlied the German equivalent of Homer's Iliad. In this work we will discuss the most significant characteristics of heroic epic by analysing, what we might consider two of the most popular heroic epics in German literature, the Nibelungenlied and the Gudrunlied. These medieval epics are subjects of much scholarly research around the world. For a better understanding of the topic, we will at the very beginning discuss the concepts of epic and heroic prose, their major characteristics as well as their significance in German literature. As the term hero certainly holds a key position in this literary genre we are obligated to hindsight it, and talk through the heroes of the Nibelungenlied and the Gudrunlied. Furthermore, for a better comprehension of the topic it is inevitable to take a closer look at the historical context of these two epics. At the very end we will review their similarities and differences.
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Drysdale, Lawrie, Jeffrey Bennett, Elizabeth T. Murakami, Olof Johansson, and David Gurr. "Heroic leadership in Australia, Sweden, and the United States." International Journal of Educational Management 28, no. 7 (September 2, 2014): 785–97. http://dx.doi.org/10.1108/ijem-08-2013-0128.
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Purpose – The purpose of this paper is to draw from data collected as part of the International Successful School Principalship Project (ISSPP) and present cases of democratic and heroic leadership from three countries, discussing to what extent successful school principals in each of their research sites (Melbourne, Australia; Umeå, Sweden; Arizona and Texas in the USA) carry old and new perspectives of heroism in their leadership. In particular the paper explores two questions: first, how do school principals describe aspects of heroic and post-heroic leadership in their practices? and second, how do these heroic and post-heroic leadership practices meet contemporary demands such as accountability standards and build inclusive and collaborative school communities in challenging contexts? Design/methodology/approach – Multiple-perspective case studies involving semi-structured individual and group interviews with principals, teachers, students, parents and school board members were used to understand the contribution of principals and other leadership to school success. Findings – The definitions of heroic and post-heroic leadership are inadequate in defining successful principal leadership. The Australian, Swedish and American principals showed characteristics of both heroic and post-heroic leadership. They showed heroic qualities such as: inspiring and motivating others; challenging the status quo; showing integrity in conflicting situations; putting duty before self; taking risks to champion a better way; showing courage to stand up to those in authority; advocating for students in struggling neighbourhoods under the scrutiny of both district and public expectations; and, showing uncommon commitment. Yet our principals showed post-heroic leadership such as involving others in decision making and recognising that school success depended on collective effort, and being sensitive to community needs through a deep respect for the local culture. Originality/value – The research shows that we may need to redefine and recast our images of who school principals are today, and what they do to generate academic success for students. Both heroic and post-heroic images of leadership are needed to explain successful school leadership.
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Park, Jongseong. "A Characteristics of Heroic oral epic of Serbo-Croatia 〈Marco Kralyevich; Марко Краљевић〉." DONAM OHMUNHAK 36 (December 31, 2019): 125–60. http://dx.doi.org/10.17056/donam.2019.36..125.
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Koshekova, A. "THE MAIN CHARACTERISTICS OF A HORSE IN THE EPOS OF HEROES." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 241–47. http://dx.doi.org/10.51889/2020-3.1728-7804.36.
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Compared to other genres of the epic, in the heroic epic we see one of the most perfect images of the horse, which has reached a high artistic level. This is due to the fact that in the archaic epic the predominance of fantastic elements, mythical motives, the consciousness of an immature child prevents him from creating a full-fledged image of a horse, the main theme of the lyric epic. which prevented the formation On the other hand, historical poetry is usually smaller in size than epic, which does not allow portraying tulpar in a variety of forms. Therefore, we can say that the image of the horse in the Kazakh epic, which is depicted in the most comprehensive, deep and diverse character, is formed mainly in the heroic epic. This was due to the fact that tulpar are usually portrayed with heroism, courage, battles with the enemy. In this regard, the article discusses the main features of the image of a horse in the epic.
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Riches, Brian R. "What Makes a Hero? Exploring Characteristic Profiles of Heroes Using Q-Method." Journal of Humanistic Psychology 58, no. 5 (June 23, 2017): 585–602. http://dx.doi.org/10.1177/0022167817716305.
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Building on research about the characteristics and varieties of actual heroes, the purpose of this project was to investigate the extent to which different types of real heroes have similar and distinct characteristics using Q-method, a person focused method. Awarded heroes sorted 49 psychological characteristics and Q-factor analysis revealed two profiles, or groups, of heroes; “open, loving, and risk-taking heroes,” and “spiritual, socially responsible, and prudent heroes.” These findings are interpreted in light of humanistic psychology, and the implications of these findings on the field of heroism science are discussed. The profiles bring the field of heroism science a deeper and more comprehensive view of the whole heroic person, and suggest directions for using heroic examples to fostering heroism.
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Kim,Soo-Kyong. "Costumes and Mythical Characteristics of the Female Heroic Character Appearing in Alice in Wonderland." Journal of Korea Design Forum ll, no. 42 (February 2014): 17–32. http://dx.doi.org/10.21326/ksdt.2014..42.002.
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Hume, Janice. "Defining the Historic American Heroine: Changing Characteristics of Heroic Women in Nineteenth-Century Media." Journal of Popular Culture 31, no. 1 (June 1997): 1–21. http://dx.doi.org/10.1111/j.0022-3840.1997.3101_1.x.
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Kwanghun, Jung, and Kim Hyunju. "From Buddhist Story to Heroic Epic: A Comparative Study of the Epic of Geser and the Mulian Story." Acta Orientalia Academiae Scientiarum Hungaricae 74, no. 3 (September 20, 2021): 413–30. http://dx.doi.org/10.1556/062.2021.00018.
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This paper compares narrative modification in the Mongolian heroic epic The Epic of Geser with that of the Buddhist Mulian story. The Mulian story, in which the protagonist saves his mother from the underworld gained widespread popularity in its time. Mulian Bianwen from the Tang dynasty, presents the scenes from the story in a very dramatic manner. The Mongolian Geser epic uses this motif but adapts the story to fit the characteristics of a heroic epic for nomadic people. Heroic epics must contain motifs that depict the image of their protagonist to present a collection of exemplary characters. To create a complete heroic epic, the story of Geser absorbed a religious story from another culture that was very popular at the time. In the present study, five scenes common to The Epic of Geser and the Mulian story are analysed to investigate how the original Buddhist story became a part of the heroic epic. This analysis considers the ways in which identical story motifs can be used for the different purposes according to the nature of the literary work.
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le Breton, Peter. "Scholarly Heroism: A Transdisciplinary Perspective on David Bohm’s Transformative Scholarship and Intellectual Exile." Journal of Humanistic Psychology 58, no. 4 (April 24, 2017): 415–30. http://dx.doi.org/10.1177/0022167817705783.
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In this article, I claim that the best scholars—individuals who achieve the most important advances or breakthroughs in knowledge and understanding—are often heroic. I argue that David Bohm exemplifies scholarly heroism, and my remarks are focused on his ideas and heroic qualities. I define a heroic scholar as a scientist or nonscientist whose commitment to the pursuit of truth is so strong, and whose achievements are so important, that he or she is willing to navigate professional difficulties, even give up income, security, and status, to stay true to themselves and their calling. Such scholars are virtuous, competent, and courageous, which are—according to heroism researchers Goethals and Allison—the three essential characteristics of heroism. Heroic scholars are morally fearless, not willing to compromise their principles (the pursuit of truth in service of good), and sell their souls for the spoils of office.
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Winford, Kristin, and Isabelle D. Cherney. "A conversation with Chris Lowney." Creighton Journal of Interdisciplinary Leadership 1, no. 1 (May 15, 2015): 3. http://dx.doi.org/10.17062/cjil.v1i1.17.
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Chris Lowney, author of four books on leadership including <em>Heroic Leadership: Best Practices from a 450-Year-Old Company that Changed the World</em>, was interviewed for the inaugural issue of the Creighton Journal of Interdisciplinary Leadership. <em>Heroic Leadership</em> discusses characteristics of great leaders based on principles developed by the Jesuits. In his interview he refers to the four core leadership pillars which are: self-awareness, ingenuity, love, and heroism. He sat down with Dr. Kristin Winford for an interview to talk about leadership and social justice.
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Burstein, Janet Handler. "Performing Holocaust Memory: Judd Ne'eman's Zitra." AJS Review 36, no. 2 (November 2012): 323–36. http://dx.doi.org/10.1017/s0364009412000219.
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Memory and its representations can reveal as much about a culture's sense of itself as they do about its past. Israeli critics have traced the ways in which representations of the Holocaust in their country's films reflect, among many other issues, Israeli culture's preoccupation with the construction of Israeli identity. According to one critic, the Holocaust survivor in films of the 1940s and 1950s embodied weakness and passivity: “all the traits that Israeli identity [was] meant to contrast.” In the 1970s, another critic suggests, films “read” the Holocaust from a “nationalist perspective…highlighting heroic resistance….” Thus, within a few decades, Israeli cinema seems to have represented in radically different ways—through the lens of the Holocaust—the intricacies of Israeli identity formation: first, by shaping memory in terms of the putative weaknesses of diaspora Jews, contrasting them with the strengths of the “new” Israeli Jew; and later, by emphasizing characteristics that linked heroic resisters with heroic Israelis.
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Bian, Fei, and Can Ming Liu. "Study and Inheritance of Daur Male Traditional Costume." Advanced Materials Research 821-822 (September 2013): 726–30. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.726.
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Daur is the typical northern minority in China; its male traditional costume has a generous appearance and clear line, which reflects a heroic and simple characteristic. There are many factors that influence formation of Daur male traditional costume culture: natural and geographical environment, social and economic conditions, production method and life style, religious belief, cultural exchange, etc. These factors are reflected in costume directly or indirectly to form the unique style of Daur male costume. These characteristics should be inherited and innovated, and become the ethnic symbol of modern Daur male costume.
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Karmilawati, Karmilawati. "Kepahlawanan dalam Lagu-Lagu Perjuangan Nahdlatul Wathan Karya Hamzanwadi." Jubindo: Jurnal Ilmu Pendidikan Bahasa dan Sastra Indonesia 3, no. 3 (December 19, 2018): 118–23. http://dx.doi.org/10.32938/jbi.v3i3.348.
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This study aims to describe the forms of the heroes' characteristics and describe the heroic messages contained in the struggle songs of Nahdlatul Wathan (NW) by T.G.K.H. Muhammad Zainuddin Abdul Madjid (also known as Hamzanwadi). This research method is descriptive qualitative with content analysis technique which focuses research on the latent content of song texts as research data. This technique is done by reading, recording, and coding, which determines the themes of each form and the heroic message found in each song. The results of this study indicate that the form of heroism contained in the songs of struggle is the attitude of love of knowledge which is realized by diligently demanding knowledge, as well as the attitude of love for religion and nation which is realized through willingness to fight. The heroic message found is a call as well as an invitation to the ummah to have a noble character that is based on the knowledge of the realization of good relations between humans and God, humans and humans, and humans with nature.
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Ou, Youngrock. "Evolution of characteristics and transformation trends in heroic narratives in the 2000s - Focusing on character and narrative construction." Korean Society of Culture and Convergence 42, no. 12 (December 30, 2020): 147–67. http://dx.doi.org/10.33645/cnc.2020.12.42.12.147.
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Rees, Nigel, Julia Williams, Chloe Hogan, Lauren Smyth, and Thomas Archer. "Protocol for a constructivist metasynthesis of qualitative research of heroism and paramedic practice." British Paramedic Journal 6, no. 2 (September 1, 2021): 34–39. http://dx.doi.org/10.29045/14784726.2021.9.6.2.34.
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Background: Exceptional demands have been placed on paramedics and other healthcare workers (HCWs) during the COVID-19 pandemic. An overwhelming outpouring of public support has unfolded, bringing into focus the relationship between paramedics, other HCWs and society, where they are portrayed as heroes. Scholars have studied the notion of heroism to society, and characteristics of such heroic status include: the voluntary nature of a heroic act, risk of physical or social harm, willingness to accept the consequences of action, acting for the benefit of others and without the expectation of gain. While some HCWs and paramedics may reflect these characteristics, many may not. Such heroic narratives can be damaging, stifling meaningful discussion around limits to duties, failing to acknowledge the importance of reciprocity and potentially imposing demands on paramedics and HCWs to be heroic.Aim: This article prospectively presents the protocol for a metasynthesis which aims to identify, appraise and synthesise the qualitative literature in order to develop theory on heroism and paramedic practice.Methods: Evolved grounded theory methodology is followed along with the procedural guidelines of Noblit and Hare (1988) to guide the analysis. The Preferred Reporting Items for Systematic Reviews and Meta-analysis Protocols (PRISMA-P) have also been adopted when preparing this protocol and will be followed in the study proper. The protocol has been registered with the International Prospective Register of Systematic Reviews PROSPERO 2021, registration number CRD42021234851.Results: We do not currently have results, but PRISMA guidelines will be followed when reporting our findings.Conclusion: Current narratives on heroism and paramedic practice are important in terms of the relationship between paramedics and society. The metasynthesis prospectively reported in this article serves as the first point in our journey of making sense of and developing theory on heroism and paramedic practice.
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Zheng, Xianru. "Interpreting Yuan Shao’s Failure in the Romance of the Three Kingdoms from the Perspective of Heroic Psychology." SHS Web of Conferences 60 (2019): 01012. http://dx.doi.org/10.1051/shsconf/20196001012.
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A psychological interpretation of Yuan Shao in The Romance of the Three Kingdoms reveals that Yuan Shao does not possess the main psychological characteristics of a hero. This paper carries out an in-depth study of Yuan Shao’s journey to his defeat and analyzes Yuan Shao from four aspects, namely, temperament, character, personality and moral character. Based on this, this paper puts forward a preliminary view of the five primary psychological traits of the hero, which echoes with the mental health education in the campus influenced by traditional culture.
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Ershov, Yuri, and Tatiana Cherepanova. "Military Media Discourse of Newspapers during Siege of Sevastopol in 1941-1942." Theoretical and Practical Issues of Journalism 10, no. 1 (March 24, 2021): 63–77. http://dx.doi.org/10.17150/2308-6203.2021.10(1).63-77.
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The article presents the results of a research into military discourse via media texts about the Siege of Sevastopol. The topicality is determined by the insufficiency of studies of newspaper discourse of that period due to scarcity of available original materials. The novelty of the research is explained by introduction of new academic data about the characteristics of «The Krasnyi Chernomorets» paper, whose reporters worked at the battle-lines of Sevastopol offensive till the end of the siege. The characteristics in the focus of the authors’ interest are the spirit and the ideological implications of the media texts, as well as methods of all-out mobilization via the newspapers, and stylistic means of heroics in descriptions of the fighters’ and homefront workers’ behavior. The key method of study is a content analysis of the available original newspaper publications photocopied in the archive of rare editions. The aim was to select articles describing feats or heroic achievements of the military men and citizens of Sevastopol. Having studied hundreds of texts, the authors have also found differences in the set of expressive means used by journalists and reporters of the local newspapers and other media. One of the inferences suggests that periodical press as a social institute features a mechanism of mild self-regulation that enables journalists, in the time of a crisis, to reprogram their functions in order to produce heroics and encourage public consolidation.
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SMITH, AYANA. "THE MOCK HEROIC, AN INTRUDER IN ARCADIA: GIROLAMO GIGLI, ANTONIO CALDARA AND L'ANAGILDA (ROME, 1711)." Eighteenth Century Music 7, no. 1 (January 21, 2010): 35–62. http://dx.doi.org/10.1017/s1478570609990443.
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ABSTRACTIn 1711 the opera L'Anagilda was performed in the private theatre of Francesco Maria Ruspoli, an important Roman patron of the Arcadian Academy. L'Anagilda's librettist (Girolamo Gigli) and composer (Antonio Caldara) were both associated with this society, but the opera contrasts with the basic goal of Arcadian aesthetics – namely, to reform literature and opera by imitating the structure of ancient Greek tragedy and the stylistic purity of Italian renaissance poets. Rather, Gigli and Caldara created an opera infused with comedy, interspersed with fantastic intermezzos and formulated according to a genre not endorsed by Arcadian literary critics, the mock heroic. This article explores topics related to one central question: why would Gigli and Caldara openly flout the literary precepts of Arcadia? Gigli was a career satirist whose works eventually caused him to be exiled from his native Siena, all of Tuscany and the Papal States, and to be expelled from three major literary academies, the Intronati, the Cruscanti and the Arcadians. Since he continually criticized the organizations to which he belonged for their narrow-mindedness, prejudice and hypocrisy, I contend that L'Anagilda represents a critique of Arcadia. Yet in the process, Gigli also shows the Arcadians that there is more than one path to verisimilitude and the imitation of classical models. Despite the mock-heroic characteristics of the libretto, Gigli adheres to some Arcadian structural requirements, and Caldara's score heightens the characterizations and the overall verisimilitude of the opera.
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Lincoln, Andrew T. "Reading Hebrews in a Time of Pandemic: Heroism and Hope in the Face of Fear." Expository Times 131, no. 11 (July 24, 2020): 471–79. http://dx.doi.org/10.1177/0014524620946689.
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Despite its well-known difficulties, the epistle to the Hebrews offers resources for reflection in a time of pandemic. Covid-19 has, in its own way, exposed how the existential fear of death can be crippling in its dominance and yet also provoke heroic actions. In the midst of its catastrophic effects for individuals and societies there has also been a demand for some signs of hope that might sustain efforts to find a better future. To read Hebrews in this setting is to be reminded that some of its major themes resonate with the experience of the pandemic’s broad characteristics. It deals with its recipients’ perceived bondage to the fear of death. It claims that this fear has been overcome through the heroic death of Christ, whose pattern of life is to be emulated in the heroism of his followers. It sets these topics within an overall message of hope, in which God’s action in the exalted Christ is seen as both a ‘word against death’ and the promise of a better world. The article explores further the potential appropriation for present-day readers of Hebrews’ treatment of each of these topics—fear of death, heroism and hope.
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Zhakupov, Zh, and N. Abdikarim. "LINGUO-FOLKLORISTIC COMPARISON OF THE KAZAKH AND MONGOLIAN EPOSES: FUNCTIONING OF PREDICATES." ASJ. 1, no. 41 (October 12, 2020): 4–11. http://dx.doi.org/10.31618/asj.2707-9864.2020.1.41.27.
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The article examines the functioning of the predicates in the heroic epics of the Kazakh and Mongolian peoples in the linvofolkloristic plan, their general and qualitative characteristics are compared. Analyzing the expression of verbal predicates in the epic, their text-forming function is epresented. Although the Kazakh and Mongolian epics do not differ much from each other in terms of predicativity, it has been established that there are stylistic, pragmatic and extralinguistic differences. On the basis of such studies, not only the intertextual connection of the language of folklore in the Eurasian space is realized, but also the attention is focused on a number of issues underlying modern interdisciplinary research.
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Carvalho, Maria Leônia, and Elislane Nascimento. "REPRESENTAÇÕES DO HOMEM NORDESTINO E MANIFESTAÇÕES DO DISCURSO ÉPICO MODERNO NO LIVRO ISPINHO E FULÔ." Revista Épicas 9, no. 2021 (June 30, 2021): 97–112. http://dx.doi.org/10.47044/2527-080x.2021v997112.
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This work aims to analyze the cordel literature/poems of the work Ispinho e Fulô, by Patativa do Assaré, under the perspective of French Discourse Analysis, the concept of Ethos and the epic Semiotization of discourse, thus, search for the discursive images of the Northeastern man and identify, in the cordel literature, the epic discourse characteristics. The research corpus brings together six poems/cordels that were categorized into two sub-themes: the man and the land, which are interconnected to conceive the representations of the Northeast and its people. From them, we were able to identify the discursive images of a strong and fighter man, as well as the ethos of the wronged rather than the miserable man: in contrast to the images that are generally disseminated about him. In the meantime, Patativa also creates a collective heroic identity for the Northeastern people and, through the approximation of the characteristics of the cordels and the characteristics of the epic discourse, he shows that there are still ways of manifesting this discourse in modern times.
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Zhao, Chen Xin, and Wei Liu. "The Developing Process and Features of Chinese Classical Gardens in Ming Dynasty." Advanced Materials Research 838-841 (November 2013): 3035–41. http://dx.doi.org/10.4028/www.scientific.net/amr.838-841.3035.
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As a transiting period, the Ming Dynasty gardens showed a creation of its uniqueness. Private gardens in Ming Dynasty mainly focused on small courtyard, it had an unadorned style and they were extremely rich in symbols of leisure landscape; Ming royal gardens development was slightly left behind, but it lead itself to form a special style which was rough and heroic. Through analysis and comparison to the gardens from Ming, Song and Qing Dynasty, it is concluded that the Ming Dynasty gardens is an inheritance and development of Song Dynasty gardens intention, and its characteristics had a plentiful variation of space. To Sum up, the Ming dynasty gardens chose circuitous paths, enhancing the level of landscape and highlighting central spot of landscape as its routine.
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Bellew, R. Shelton. "Examining the apocalyptic in Roberto Saviano’s Gomorra." Forum Italicum: A Journal of Italian Studies 52, no. 2 (January 31, 2018): 505–22. http://dx.doi.org/10.1177/0014585818755358.
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This article examines the apocalyptic in Gomorra ( Saviano, 2006 ). Wu Ming 1 (2008) declared Saviano’s novel to be part of a new body of literature called the “New Italian Epic” based upon the narrative’s seven characteristics. Alessandro Dal Lago (2010) , on the other hand, does not think that Saviano’s work represents a new genre. For him, Ming’s sixth characteristic, the unidentified narrative object, has been the narrative technique of various historical authors such as Giovanni Verga (1978) and almost any work by Jorge Borges, just to name two. This technique is that of a composite narrator, which employs mimesis in combination with a diegetic narrative that alternates between being intradiegetic and extradiegetic according to the author’s whim. In assessing Gomorra, Dal Lago argues that there has always been literature that appears to tell an objective truth but that, in fact, represents the author’s subjective portrayal. He calls this writing style the “heroic rhetoric.” Dal Lago is correct in assessing this rhetorical style, but does not fully explain Saviano’s popular success. This article will review the apocalyptic literature to show how it applies to the narrative of Saviano’s prophetic voice in an eschatological context.
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Lieven, Michael. "Heroism, Heroics and the Making of Heroes: The Anglo-Zulu War of 1879." Albion 30, no. 3 (1998): 419–38. http://dx.doi.org/10.1017/s0095139000061093.
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In recent years a number of studies have examined the function of heroic narratives in the propaganda of empire and the construction of “Britishness.” Graham Dawson has argued that such narratives “became myths of nationhood itself providing a cultural focus around which the national community could cohere.” In the light of the nineteenth-century chivalric ideal, the Victorian military hero was expected to be “the embodiment of the virtues of bravery, loyalty, courtesy, generosity, modesty, purity, and compassion, and endowed with an indelible sense of noblesse oblige towards women, children and social inferiors.” The English and upper-class image of the “British” hero served, among other things, to inculcate these supposedly English characteristics in the Irish, Scottish, and Welsh. Courage was taken for granted as the essential characteristic of British imperial officers in the Victorian period but, while courage is a personal quality and is not in itself a quality belonging to the public domain, heroism is, by contrast, something definitionally public. The courageous man becomes a hero only when he is declared to be one. The roots of the hero are in dramatic narrative, which spans the epic myth and the reality of war. The hero is “made” whether in a dramatic fiction or in the representation of events, though the latter produces the problem of molding reality to the requirements of the genre. Military heroes in the genre of the imperial adventure story and in the representation of “real” events are hardly distinguishable, for they are “made” to serve the same purposes. The hero is part of a story and, as Northrop Frye has argued, that story or langue has certain generic features throughout history. On the other hand, though the hero is made, the individual can, and often did, prepare and present himself for the role.
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Asriyan, Elina. "Ethnic and political myths as a factor of forming the public opinion." Przegląd Wschodnioeuropejski 8, no. 1 (July 1, 2017): 161–72. http://dx.doi.org/10.31648/pw.3610.
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The word ‘myth’ means tradition, legend. Myth-making is seen as the most important event in the cultural history of mankind. In primitive society mythology presents the basic way of understanding the world. The history of the people needs to be told of his mythology, and not vice versa. In our view when creating the image of a political leader should come from the heroic myths. The main characteristics of political myth are relying on the archetype and some technological artifice. We can say that the political myth is an adaptation of a cultural myth for political purposes. Political myth thus becomes a necessary form of communication between people and the government. Political myths are widely used in election campaigns, because from a psychological point of view the mythologizing the political leader allows differentiate him from competitors.
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Kononenko, Natalie K. "The Influence of the Orthodox Church on Ukrainian Dumy." Slavic Review 50, no. 3 (1991): 566–75. http://dx.doi.org/10.2307/2499853.
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Dumy, the oral epic songs of Ukraine, like other heroic poetries, have a military subject matter. One duma cycle tells of battles with the Turks and Tatars in the fifteenth to seventeenth centuries; another sings of the Khmel'nyts'kyi uprising against the Poles that began in 1648. In addition to the expected narratives about armed conflict, the duma tradition also contains a group of songs, usually called the cycle about everyday life, that deals with topics only tenuously connected to war. These songs tell of such problems as filial ingratitude and sibling disloyalty. The popularity of this "unheroic" body of dumy relative to the other cycles suggests a powerful nonmilitary influence on the Ukrainian epic tradition at some point in its development. Other content features, some unusual elements in duma form, and many unique characteristics of duma performers likewise indicate such influence.
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Mroz, Gilly, Chrysanthi Papoutsi, and Trisha Greenhalgh. "‘From disaster, miracles are wrought’: a narrative analysis of UK media depictions of remote GP consulting in the COVID-19 pandemic using Burke’s pentad." Medical Humanities 47, no. 3 (March 29, 2021): 292–301. http://dx.doi.org/10.1136/medhum-2020-012111.
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During crises (major events characterised by uncertainty, urgency and threat), society must make sense of rapidly unfolding events. This happens mainly through narrativising—depicting a setting, characters and a meaningful sequence of events and actions unfolding over time. In the early months of the pandemic, UK general practice shifted from face-to-face consultations to a remote-by-default model (telephone, video or e-consultation). This shift was initially widely accepted by press and public, but support waned after a politician declared that the change would be permanent. We invoke Burke’s dramatistic pentad of act, scene, agent, agency and purpose to theorise findings from a detailed analysis of media coverage of the remote-by-default policy and reactions to it. We consider the 12 weeks from March to June 2020 (first lockdown, when remote-by-default services had just been introduced) and 1 week from late July 2020 (following the ministerial announcement). The initial introduction of remote consulting had strong narrative coherence in which all parts of the pentad were balanced: scene (a deadly virus threatening the country) aligned with act (lockdown, including avoiding face-to-face appointments unless essential), agents (the National Health Service and digital technology as heroic macro-actors), agency (general practitioners ‘deployed’) and purpose (to control the pandemic). The later period, however, was characterised by a mismatch between scene (a country emerging from lockdown and resuming normal life), act (imposition of the remote model), agent (a politician known for his enthusiasm for technology), agency (top-down directive) and purpose (modernisation). Whereas media narratives in the first period aligned with the genre of heroic adventure (suggesting a worthy battle, bravely fought), those of the second had characteristics of farce (something both comic and grotesque). We conclude that close reading of media narratives may surface potential misalignments between policy decisions and the context in which they must be implemented.
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Hendrickx, B. "‘Die dood van Digenis’ - mistifikasie van ’n Bisantynse held." Literator 14, no. 1 (May 3, 1993): 99–106. http://dx.doi.org/10.4102/lit.v14i1.693.
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The Byzantine akritic poem, "The Death of Digenis", which manifests all the characteristics of the Byzantine Neo-Hellenic tragoudi, is a good exemplum of an epic song, where mystification (in its anthropological sense) is used to idealize the hero. Historically the akritic songs (9th - 13th cent. A.D.) refer to the ongoing war on Byzantium’s frontiers between the Christian defenders of the empire and the Moslem invaders. The poem's structure, its historical-epic elements and especially its symbolism are examined in this article. It thus becomes clear that the unknown poet juxtaposes present, past and future in such a way that Digenis’s heroic (but human) exploits of the past are integrated in a supernatural climax, where the hero in his struggle loses to Charon (Death - Archangel Michael). Consequently Digenis, whose name means ‘bom twice', complies on the one hand with the tragic destiny of an epic death, and on the other hand passes through a kind of initiation ritual into the Christian host of the heroes of Heaven.
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Stead, Evanghelia. "Monumental German Faust Editions in International Circulation and Multimedia Modernity." Quaerendo 50, no. 4 (November 26, 2020): 362–94. http://dx.doi.org/10.1163/15700690-12341473.
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Abstract The article (developing a paper presented at 2010 SHARP international conference) investigates the ways grand Faust editions from the 1850s and 1870s make sense as equivocal cultural objects migrating within and beyond Germany. Scholars have focused on these imposing tomes to herald the play as expression of a nation-centred claim, with Faust as heroic myth. This interpretation relied on costly plates and external characteristics for principal evidence. This article instead draws attention to circulation, transformations and fuller readings of these items, combining first-hand research in many collections. On the one hand, it looks into the editorial versions as adjustable to different audiences and cultures, using editorial data, reception evidence, and image analysis. On the other, it shows how fuller readings of a tome, based on material, symbolic and archival evidence, tell two different stories. This study of a text’s print apparel and circulation, at odds with its significance as a national myth, has implications well beyond this singular work.
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Bobowski, Sławomir. "Polskie „westerny”." Prace Literackie 58 (April 28, 2020): 339–48. http://dx.doi.org/10.19195/0079-4767.58.28.
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A few Polish movies are quite peculiar from the point of view of the genre. In their style and construction, they are based on the formula of the western pattern. It is worth pointing out that these films are quite good. There is some evidence that the formula of the Wild West story possesses a some timeless and universal vigor. In my essay I have analyzed Polish westerns such as Ogniomis-trz Kaleń by Ewa and Czesław Petelscy (1961), Jerzy Passendorfer’s Zerwany most (1962), Bohdan Poręba’s Droga na zachód (1961), Aleksander Ścibor-Rylski’s Wilcze echa (1968), Edward Skórzewski’s and Jerzy Hoffman’s Prawo i pięść 1964), Waldemar Podgórski’s Południk zero (1970), and the famous picture Róża, by Wojciech Smarzowski (2011). All theseworks display some elementsof western staffage, but mostimportantly they contain the genre’s characteristics and its deep structures, that is liminal space (Frontier), uncertain time of chaos, some fundamental values in danger, the passive attitude of society, an anti-hero and, of course, the PROTAGONIST — a lonely, heroic, tragic individual, representing the world of ideals.
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Diefenthaeler, Samantha Da Silva. "Notes on Penthesilea: The marks of a past of female heroism." Galactica Media: Journal of Media Studies 2, no. 3 (October 19, 2020): 273–94. http://dx.doi.org/10.46539/gmd.v2i3.103.
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The goal of this paper is to construct an image map that will allow us to understand archetypes characteristics that accompany heroic representations of women in cinema. We will begin with the myth of Penthesilea, an Amazon queen whose tragic loss of feminine power will then guide us in the search for new archetypal deflections. We believe the archetype of Penthesilea signifies new leak points in representation of power as connected to the feminine. To prove that will be one of the main goals of this paper. We insist on highlighting that the images associated with the description of this character are allied to a structure linked with a kind of force and power commonly related to the male. Penthesilea bears the mark of an essentially solar/diurnal heroism, in which love will configure as an additional item that makes the characters confront each other violently. The result of this analysis will be a visual trajectory from a moment in the past that connects to contemporary representations of feminine heroism.
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Tharmenthira, Shopana. "The God Murugan in Bharatanatyyam." International Research Journal of Tamil 2, no. 2 (February 18, 2020): 74–81. http://dx.doi.org/10.34256/irjt2028.
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Bharatanatyam is the bhava (expression), raga (melody) and tala (rhythm) are gathered together. It is a beautiful aesthetic art. This article is exploring how God Murugan is special in this great Bharatanatyam dance. The purpose of this study is to examine how hand seals, foot movements, and heroic bhavas are used to illustrate the characteristics of Kandan or God Murugan. The idea is to lead the people and the person into a spiritual state of light when they are revealed through the Bharata dance rather than the highlighting of Kandan's unique qualities. In this case, the Bharatanatyam forms of the senior dancers of the Jaffna and the Bharatanatyam forms of the University of Jaffna dance have been studied until they are known. This system includes the seals applied to the forms of the God of Muruga and the concluding remarks. These are used in detail analysis, field analysis, and meteorology. Through this process, young people will learn to deal with Bharatanatyam and Lord Muruga with a sense of devotion.
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Davidson, Allan K. "Useful Industry and Muscular Christianity: George Augustus Selwyn and His Early Years as Bishop of New Zealand." Studies in Church History 37 (2002): 289–304. http://dx.doi.org/10.1017/s0424208400014807.
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Charles Kingsley in 1855 gave the following dedication to his novel, Westward Ho!:To the Rajah Sir James Brooke, K.C.B., and George Augustus Selwyn, D.D., Bishop of New Zealand this book is dedicated, by one who (unknown to them) has no other method of expressing his admiration and reverence for their characters.That type of English virtue, at once manful and godly, practical and enthusiastic, prudent and self-sacrificing, which he has tried to depict in these pages, they have exhibited in a form even purer and more heroic than that in which he has drest it.Brooke, the adventurer, soldier, and colonial administrator, and Selwyn, the missionary colonial bishop, appealed to Kingsley as exemplars of what he called ‘Christian manliness’. One of Kingsley’s reviewers, T. C. Sandars, described Kingsley as ‘spreading the knowledge and fostering the love of a muscular Christianity’. The defining characteristics of this ‘muscular Christianity’, a term with which Kingsley was uneasy, were ‘an association between physical strength, religious certainty, and an ability to shape and control the world around oneself’.
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Borlykova, B. Kh, and B. V. Menyaev. "Characters of Sart-Kalmyk Version of Epic “Dzhangar”." Nauchnyi dialog 1, no. 10 (October 31, 2020): 231–42. http://dx.doi.org/10.24224/2227-1295-2020-10-231-242.
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Based on the well-known work of E.S. Novik (2001), for the first time, the experience of describing the internal and external characteristics of the characters of the Sart-Kalmyk version of the “Dzhangar” epic from the point of view of their individual, family and class conditions is presented in this article. The material for the analysis was the unpublished texts of the epic “Dzhangar”, recorded in 1929 by A. V. Burdukov and in 1972 by A. Sh. Kichikov in the village of Chelpek in the Ak-Suu district of the Przhevalsk region of Kyrgyzstan. For comparison, the published songs of the Kalmyk and Xinjiang Oirat versions of the epic “Dzhangar”, Kalmyk heroic tales, as well as the authors’ personal field notes were used. As a result of the analysis of the Sart-Kalmyk version of the epic “Dzhangar”, the authors came to the conclusion that for the in-plot functioning of the characters, it is important not only what role they play, but also what internal and external characteristics they are endowed with, since they correspond to those actions in which real characters take part. The characterization of the characters, playing up in the plot of the epic, sets the form of collisions. It was revealed that the victory of the heroes of the epic “Dzhangar” is associated with the following characteristics of the character: “strong / weak” and “brave / cowardly”, “whole / dismembered”, etc. Comparative consideration of the characters of the epic “Dzhangar” showed that the epic heroes have both similarities and local individual differences. However, the main functions that they perform in one version or another are close, going back to the ancient all-Mongolian epic tradition.
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Kuznetsova, Yulia A., and Nadezhda A. Kalmazova. "Representation of the concept 'thief' in the modern mass media." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 74–80. http://dx.doi.org/10.20323/2499-9679-2021-1-24-74-80.
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The main purpose of the article was to study the representation of the concept 'thief' in the language of Russian mass media. This concept is important for both national and scientific legal concept spheres. The appeal to journalistic texts is due to the fact that they quickly reflect the main characteristics of the current state of mass consciousness and manifest its key stereotypes. The analysis was carried out in accordance with the main task of the study: to identify the key features of the concept represented in the media. In the course of the study, information from the newspaper subcorpus of the National corpus of the Russian language was used in order to collect and analyze empirical data. Semantic analysis of the contexts containing the key word of the concept revealed basic characteristics of the concept prevailing in the mass national consciousness. The authors conclude that the romantic and heroic image of the thief, which has deep folklore and literary roots, continues to exist as one of the prevalent characteristics of this concept in modern public consciousness. This image of the thief is largely formed by modern mass cinema, literature and music which are discussed in the media. The image of the so called «thief in law», often mentioned in the analyzed material, also partly contributes to the strengthening of the romantic features of this concept, since it implies following some alternative principles of morality and honor. At the same time, the research has shown that this concept receives an ambiguous evaluation in the Russian society, since the idea of criminality of this phenomenon is clearly expressed in many of the contexts under study.
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Barra, Caoimhín De. "A gallant little ‘tírín’: the Welsh influence on Irish cultural nationalism." Irish Historical Studies 39, no. 153 (May 2014): 58–75. http://dx.doi.org/10.1017/s002112140000362x.
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Throughout the Irish cultural revival of the later nineteenth and early twentieth centuries, Wales was held up as an example by some Irish nationalists of how a nation could revive its traditional culture and language. These writers told their audience of the heroic deeds of the Welsh in restoring their language to show Irish language revivalists that their task was not impossible. The Welsh example was studied by enthusiasts to see what steps were needed to improve the position of Irish. Organisations such as the Society for the Preservation of the Irish Language (S.P.I.L.) and the Gaelic League noted with envy the levels of literacy among Welsh speakers. Revivalists believed that literacy had prevented Welsh from disappearing, and they hoped to boost literacy rates in Irish to save that language. They noted how successful the eisteddfodau were in instilling pride among the Welsh people in their culture. Accordingly, members of the Gaelic League established the Oireachtas to encourage the people of Ireland to celebrate their own distinctive characteristics. Yet while the example of the Welsh language was regularly discussed, this did not reflect a deep understanding of linguistic developments in Wales.
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Михайлов, Алексей, Aleksey Mikhaylov, Евгений Шишкин, and Evgeniy Shishkin. "Patriotic education of staff penitentiary system in contemporary conditions." Applied psychology and pedagogy 2, no. 4 (November 13, 2017): 1–9. http://dx.doi.org/10.12737/article_5a07660033dd00.71292329.
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The article reveals the peculiarities of patriotic education of penitentiary staff in the conditions of reforming. Conceptual aspects of the term "patriotism" of its content and direction.As part of patriotic education is the development of Russian society of high social activity, civil responsibility, spirituality, formation of citizens with positive values and qualities that can manifest them in the creative process in the interests of the Motherland, strengthening the state, ensuring its vital interests and sustainable development.The goals of patriotic education of Russian citizens through more specific objectives, taking into account the specifics of subjects and objects of education, the environment in which it is carried out, the characteristics of their solutions in the economic, social, legal, political, cultural and other spheres.
The content and focus of patriotism are determined, above all, spiritual and moral climate of society, its historical roots, feeding the public life of generations. The article also discloses the most meaningful actual directions of patriotic education of employees of the penitentiary system: the spiritual and moral, historical and regional studies, civil-patriotic, social, patriotic, military, patriotic, heroic and patriotic, sports and patriotic.
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Putri, Tia Aprilianti. "Viewing Female Depiction in Frozen 2." Language Circle: Journal of Language and Literature 15, no. 2 (April 26, 2021): 265–74. http://dx.doi.org/10.15294/lc.v15i2.26416.
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Disney is one of the biggest animation companies in the world. They have released many animations since then until now. One of the most popular animations is the princess series. Until 20202, Disney has released fourteen princesses from Snow White and the Seven Dwarfs to Frozen 2. Gender role depictions of the female character(s) were examined with a focus on their behavioral characteristics in the films. The English subtitle of Frozen 2 was used to find out the attitudinal expressions about the female characters. In order to make the research easier and more accurate, a concordance tool named Antconc was used to collect the data and create a corpus. Results found that the most recent princess series entitled Frozen 2 showed the female characters depicted as a precious person who was willing to sacrifice herself for others, kind, heroic, fearless, and full-of-spirit. However, Disney also depicted the female characters as liar and trouble maker. In this case, Disney keeps showing that females cannot be seen using the traditional gender’s perspective anymore. A Female is not only feminine, but she also can be masculine as a man.
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Rakojevic, Luka. "Streets in Niksic as a mirror of urban life and culture." Bulletin de l'Institut etnographique 69, no. 1 (2021): 227–38. http://dx.doi.org/10.2298/gei2101227r.
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The paper deals with history, culture and urban life portrayed through the life of streets. This topic is particularly interesting bearing in mind that this town is extremely significant cultural center in Montenegrin framework. Its story has mostly been written informally, in a street or a caf?. It covers the period from late XIX century until the end of XX century. The text represents a particular interrelation between certain urbanity characteristics which are connected to different aspects of life and work. It also deals with relationships between streets and bohemian lifestyle of this town, literary inspirations, heroic figures and certain peculiar persons who found their place in the spirit of a place of turbulent history and rich culture. Few monuments, being important stops and symbols of Niksic past, have also been described. Abundance of quotations and references permeate through the text, covering historical, scientific and theoretical sources and thus allowing us to have an integral overview on the life of a street in this town. The paper belongs to the field of urban culture research's and encompasses different kinds of sources - from scientific papers and literary works and travelogues to newspapers articles.
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Tun, Dandan. "Chinese Folklore Tales as a Cultural Treasure of the Nation." Observatory of Culture 17, no. 4 (September 8, 2020): 438–46. http://dx.doi.org/10.25281/2072-3156-2020-17-4-438-446.
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The article examines Chinese folk art, which not only has pronounced national features, but also is a cultural treasure of the nation. Chinese folklore consists of myths, legends, fables, funny stories, fairy tales and tales about life, about animals, as well as works that describe famous historical figures, praise the love of the motherland. The texts clearly demonstrate the motives of admiration for the characters, give positive assessments of labor skills, analyze the characteristics of local traditions, customs and life. The folklore is an integral part of traditional Chinese culture. It educates, shapes the worldview, morals and ethics of the Chinese people. Folklore works become a kind of stage on which the life conflicts of non-heroic existence of an ordinary person with simple cultural interests (for example, communication, participation in rituals, hospitality, etc.) are played out.The article presents translations of original stories from Chinese into Russian, on the example of which it analyzes the cultural values of Chinese folklore works from the point of view of philosophy. The research is carried out using contextual, linguoculturological methods, as well as methods of analysis and synthesis. The presented research has an interdisciplinary character, because it is performed at the intersection of cultural studies and linguoculturology, folklore studies and translation studies.
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Fennimore, Anne, and Arthur Sementelli. "Public entrepreneurship and sub-clinical psychopaths: a conceptual frame and implications." International Journal of Public Sector Management 29, no. 6 (August 8, 2016): 612–34. http://dx.doi.org/10.1108/ijpsm-01-2016-0011.
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Purpose The purpose of this paper is to adapt the research conducted on subclinical psychopaths in the private sector and applies it to the public sector to build a conceptual frame for further research on subclinical psychopaths in public organisations. General characteristics of entrepreneurs often run counter to democratic values, and are more often aligned with private sector values. Public managers who display one of the dark-triad personalities, i.e., psychopathy, can pose a greater threat to democratic values and the state. Design/methodology/approach The approach of this paper is theoretical with the aim of proposing a conceptual framework that utilises Downs’ five types of officials governing bureaucracies, to illustrate a relationship between public entrepreneurs and subclinical psychopaths. Findings The conceptual framework presented in this paper suggests that psychopathic entrepreneurs can be identified within Downs’ bureaucratic framework specifically as climbers (due to inherent personality traits) and as zealots (heroic and altruistic behaviour for organisational causes, yet motivated by power, domination, and self-interest). The implications of psychopathic public managers who engage in entrepreneurial activities may be escalating public distrust, hostility, and dissatisfaction in government. Originality/value This theoretical paper adds to the growing body of criticism for public entrepreneurship by conceptualising how psychopaths, as climbers and zealots, affect public trust in terms of accountability and democratic values.
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Strokal, Oleksandr. "Verbalization of the Native Land Concept in Oleksii Dovhiy's Poetry." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 37 (2020): 117–26. http://dx.doi.org/10.17721/2663-6530.2020.37.08.
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The article deals with the peculiarities of the linguistic expression of the NATIVE LAND concept in Oleksii Dovhiy's poetry. The study found that the current stage of linguistics is characterized by an understandingof the concept as a general concept and complex of culturally determined perceptions of the subject. The concept itself is a designated element of the ideal that represents the reality of the speaker through the prism of his culture. The article argues that the individual's ideas about the subject are realized in the artistic text through a figurative system. The image is considered as the main means of artistic generalization of reality, as a sign of the objective correlate of human experiences and as a special form of social consciousness.In Oleksii Dovhiy's poetic texts the image of the native land is one of the most vividly presented. For the poet's lyrical hero, this image serves as a special place, a sacred locus, the beginning of all things. This vision of the lyrical hero is expressed in the nominations for the designation of landscape elements, natural phenomena and their characteristics. Supplements the analyzed locus introduced by the author image of the Big Father, expressed by the respective linguistic units. The author's poetic language presents linguistic constructions that explicate the image of the native land as the beginning of all things a place in which the memory of the heroic past and the difficult tests are stored at the same time.
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Jankovic-Begus, Jelena. "Chanting of the inner space: on symphonic and concertante works by Milorad Marinkovic." Muzikologija, no. 19 (2015): 83–117. http://dx.doi.org/10.2298/muz1519083j.
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The opus of contemporary Serbian composer Milorad Marinkovic (b. 1976), which encompasses works of choral, chamber, concertante and symphony music, leans towards classical forms of artistic music, Serbian folklore music, and Serbian Orthodox church chant. This paper deals with pieces composed for larger instrumental ensembles: Herojska uvertira (Heroic Overture) for symphony orchestra, Psalmodija (Psalmody) for symphony orchestra, Koncert za klavir i orkestar (Piano concerto) and Mala opera (Little Opera) for chamber ensemble (septet) with prominent soloist parts of flute and clarinet. Special attention is placed on different procedures used by Marinkovic to accomplish wholeness and integration of the musical tissue. This paper observes these pieces as examples of religious music, having in mind the composer?s own understanding of the notion. Among common characteristics of the observed works that justify this point of view are specific single movement forms and the prominent role of main thematic materials, a cyclic principle, and programmatic elements. References to Serbian church chant observed in Marinkovic?s instrumental works are also discussed, especially in parallel with the analogue procedures used by Ljubica Maric (1909- 2003), one of the composer?s role models. Although Marinkovic?s works for instrumental ensembles do not fall into the category of spiritual music in its narrow sense (as defined by the composer himself), in this paper they are nevertheless considered as ?spiritual? in a broader sense, as an expression of the composer?s desire to spiritualize his entire artistic output.
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MacDubhghaill, Rónán L. "The Myth of the Jedi: Memory and Deception in the Star Wars Saga." Excursions Journal 4, no. 1 (September 13, 2019): 40–58. http://dx.doi.org/10.20919/exs.4.2013.162.
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The importance of science fiction in contemporary cultural studies can hardly be underestimated, no more than it can be denied. Many narratives emerging out of the world of science fiction have become fully integrated within the contemporary cannon of popular understanding, mythology and reference. Amongst these narratives, perhaps no story is more fully integrated with contemporary culture than the original Star Wars saga. More current in the contemporary social imagination than the norse sagas, or those of ancient greece, Star Wars shares many of their epic qualities. The focus on the heroic characteristics of individuals, for example, against the backdrop of a great conflict between forces of good and evil, in which the righteous and the virtuous prevail is the standard narrative of many epic cultures. Indeed, this is the origin of classic notions of virtue, which stay with us to this day (MacIntyre, 2007). In that sense, this saga could be understood as yet another permutation of a story which has been told since time immemorial. Yet, as with the classical sagas, one must be sensitive to problematic aspects within their narratives; to the version of morality which they promote, and the ways in which they do so. This main focus in this essay will be just one such problem: the (mis)use of memory within the narrative of the original Star Wars saga, and deception as it relates to the myth of the Jedi.
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Kloes, Andrew. "Dissembling Orthodoxy in the Age of the Enlightenment: Frederick the Great and his Confession of Faith." Harvard Theological Review 109, no. 1 (January 2016): 102–28. http://dx.doi.org/10.1017/s0017816015000504.
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The name of Friedrich II and his nearly half-century reign from 1740 to 1786 are virtually synonymous with the advent and advance of the Enlightenment in Prussia. In his famous 1784 answer to the question posed by the Berlinische Monatsschrift, “What is enlightenment?” Immanuel Kant asserted that enlightenment could be partially conceptualized as a temporal epoch, one whose salient characteristics, especially in regards to religion, were manifested in the personal opinions and public policies of his royal Prussian sovereign. “We do not live in an enlightened age, but in an age of enlightenment – the century of Friedrich.” In a similar spirit, a generation after Kant wrote, Friedrich Schleiermacher delivered a paean to Friedrich II's memory in a January 24, 1817 address to the Prussian Academy of Sciences on what would have been Friedrich II's one-hundred-and-fifth birthday. Schleiermacher heralded Friedrich II as “a friend of the muses,” who doubtlessly conversed with Plato in the afterlife, the legacy of whose domestic initiatives had been to transform Prussia into a more cultured society, while his “heroic” and “glorious” victories secured for the Prussian Army its vaunted reputation for military prowess. As the 29-year-old king himself wrote in a February 24, 1741 battlefield letter from the frontlines of the First Silesian War, “I love war for its glory, but if I were not a ruler, I would be nothing but a philosopher.”
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Fava, E., and M. Rossi. "Rescue from a Deep Well." Prehospital and Disaster Medicine 1, no. 3 (1985): 324–25. http://dx.doi.org/10.1017/s1049023x00065985.
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The impromptu and unforseeable problems, which the physician faced who was called upon to help a boy who had fallen into a deep well, are illustrated. Inability to recover the boy rapidly required oxygen and fluids to be provided in the well for over 2 days. The reasons why heroic efforts failed to save him will be presented in this rescue case report.In reoccurring types of disasters, such as earthquakes and fires, the type of aid required can be predicted from previous experiences and results. Sometimes in cases involving one individual, who due to special circumstances is in danger of losing his life, rescue organizations have difficulty in organizing and providing the special aid required, which touches public sympathy, creating a state of general anxiety and interest. An unusual and dramatic case, the accidental fall of a boy into a deep well, had these characteristics. The intensive care unit (ICU) of our hospital had to deal with this extraordinary event. National and worldwide news media gave extensive coverage and direct transmission, with emotional details, ending with the drama of human life and the attempted rescue.In the afternoon of 3une 10, 1981, in Vermicino, on the rural outskirts of Rome, a 6 year old boy did not return home. After carrying out an anxious and fruitless search, the parents informed the local authorities. The police continued the search, until they finally heard from the tunnel opening of an unmarked well the tearful wail of the boy.
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Chisholm, David. "Daniel Call’s Schocker: German Knittelvers in the late twentieth century." Studia Metrica et Poetica 4, no. 2 (January 4, 2018): 7–30. http://dx.doi.org/10.12697/smp.2017.4.2.01.
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The word “Knittelvers” has been used since the eighteenth century to describe four-stress rhyming couplets which seem to be rather simply and awkwardly constructed, and whose content is frequently comical, course, vulgar or obscene. Today German Knittelvers is perhaps best known from the works of Goethe and Schiller, as well as other late eighteenth and early nineteenth century writers.Well-known examples occur together with other verse forms in Goethe’s Faust and Schiller’s Wallensteins Lager, as well as in ballads and occasional poems by both poets. While literary critics have shown considerable interest in Knittelvers written from the fifteenth to the eighteenth century, there has been almost no discussion of the further use and development of this verse form from the nineteenth century to the present, despite the fact that it continues to appear in both humorous and serious works by many contemporary German writers. This article focuses on an example of dramatic Knittelvers in a late twentieth century play, namely Daniel Call’s comedy Schocker, a modern parody of Goethe’s Faust. Among other things, Call’s play, as well as other examples of Knittelvers in works by twentieth and early twenty-first century poets, demonstrates that while this verse form has undergone some changes and variations, it still retains metrical characteristics which have remained constant since the fifteenth century. Today these four-stress couplets continue to function as a means of depicting comic, mock-heroic and tragicomic situations by means of parody, farce and burlesque satire.