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Journal articles on the topic 'Heroic novel'
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Valiantien, Nita Maya, and Setya Ariani. "Sifat Kepahlawanan Tokoh Bujang dalam Novel "Pulang" Karya Tere Liye." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 4, no. 4 (November 7, 2021): 499–514. http://dx.doi.org/10.30872/diglosia.v4i4.242.
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This study aims to provide an overview of heroic traits shown by the character Bujang in Tere Liye's novel Pulang. The method used in analyzing the data is qualitative method because the data collected and analyzed are in the form of narratives and dialogues in the text related to the heroic traits possessed by Bujang as the main character in the novel. Furthermore, this study uses descriptive techniques to define the heroic traits found in Bujang character. From the results of the analysis, it was found that eight heroic traits possessed by Bujang in the novel Pulang. The traits include caring, charismatic, inspiring, reliable, resilient, selfless, smart, and strong. This finding shows that heroic traits can be found in characters who are involved in the world of crime and also in literary works that use the setting and themes of the criminal world. By having these eight heroic traits, Bujang is a representation of a hero even though he is a character who has a role in the criminal world he lives in the novel.
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Sirkel, Katri. "The Gentleman as a Hero? (Mis)representations of Heroic Masculinity in W. M. Thackeray’s Vanity Fair." Interlitteraria 22, no. 2 (January 16, 2018): 372. http://dx.doi.org/10.12697/il.2017.22.2.14.
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The aim of the article is to analyse the concept of gentlemanliness with regard to heroic masculinity in W.M. Thackeray’s novel Vanity Fair. Set at the time of the Napoleonic Wars and written in the 1840s, the novel casts light on the controversial nature of the notion of gentleman. In the Victorian period, gentlemanliness came to be modelled on the principles of chivalry but there was nevertheless an implicit assumption originating from the Regency era that being a gentleman meant yielding to leisurely elegance rather than performing heroic deeds. Thackeray, whose formative years had passed in the Regency-tinted 1820s and early 1830s but who as a novelist gained maturity in the mid-nineteenth century, was acutely aware of the contradiction between the Regency and Victorian perceptions of gentlemanliness and the unease resulting therefrom. Thus, the paper argues that although the Regency standards of gentlemanliness were discarded as incompatible with Victorian heroic masculinity, they had a considerable influence on how heroism as a component of gentlemanliness was perceived in the Victorian era. The analysis of gentlemanliness focuses on the four principal male characters in the novel – Jos Sedley, Rawdon Crawley, George Osborne, and William Dobbin, of whom each represents aspects of gentlemanliness not entirely compatible with the Victorian heroic ideal. The article suggests that the characters take heroism as an asset for creating a heroic image rather than as a manifestation of heroic deeds, thus presenting vividly the contradiction within the concept of Victorian heroic masculinity.
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Zhao, Zhicheng. "A Comparative Study Between Chinese Classic Full-length Heroic Novel and Korean Classic Full-length Heroic Novel." Studies of Korean & Chinese Humanities 58 (March 31, 2018): 133–54. http://dx.doi.org/10.26528/kochih.2018.58.133.
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Efthimiou, Olivia. "Heroic ecologies: embodied heroic leadership and sustainable futures." Sustainability Accounting, Management and Policy Journal 8, no. 4 (September 4, 2017): 489–511. http://dx.doi.org/10.1108/sampj-08-2015-0074.
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Purpose The purpose of this paper is to demonstrate heroism as an embodied system of leadership and well-being. Heroic leadership is presented as a baseline for sustainable futures and global health. Design/methodology/approach This paper presents an embodied reading of heroic leadership and its sustainable development across five stages. It outlines its core functions, its grounding in self-leadership through physical and mental trauma and its holistic benefits, resulting in the development of the Heroic Leadership Embodiment and Sustainable Development (HLESD) model. The efficacy of HLESD is demonstrated in an empirical case study of heroism promotion and education: the Hero Construction Company and the Heroic Imagination Project. Findings Heroic leadership is revealed as an emergent, dynamic and distributed form of sustainable development. Research limitations/implications This paper demonstrates the critical connections between heroism, sustainability, embodied leadership and well-being and how they stand to benefit from each other, individuals and communities at large. Social implications The implementation of HLESD in educational, counselling and broader contexts in consultation with a wide range of professionals stands to offer significant benefits to pedagogies, clinical practice, holistic therapies and twenty-first-century societies, at both the community and policy level. Originality/value The emerging field of heroism science and the use of heroic leadership as an interdisciplinary tool is a novel approach to well-being, which holds immense potential for the imagining and fostering of sustainable personal and collective futures.
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Woodrough, Elizabeth, and M. Bannister. "Privileged Mortals: The French Heroic Novel 1630-1660." Modern Language Review 80, no. 4 (October 1985): 938. http://dx.doi.org/10.2307/3729001.
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Ma'ruf, Annaz. "The Analysis of Heroes’ Traits in Percy Jackson and the Olympians: The Lightning Thief." Journal of Literature, Linguistics, & Cultural Studies 2, no. 1 (July 24, 2023): 69–81. http://dx.doi.org/10.18860/lilics.v2i1.2727.
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This research analyzed the heroic portrayal of the main character, Percy Jackson, in Rick Riordan's novel "Percy Jackson and the Olympians: The Lightning Thief." The study aimed to examine the literary work and used a psychological approach to analyze Percy Jackson's psychological aspects as the central character. The theoretical framework utilized was "The Eight Traits of Heroes," developed by Scott Allison and George Goethals, encompassing traits such as caring, charismatic, inspiring, reliable, resilient, selfless, intelligent, and strong. The findings of this research indicated that Percy Jackson displayed all eight heroic traits in the novel. Additionally, the study employed "The Three Major Components of Heroes" to trace Percy Jackson's hero development throughout the story. However, it was noted that Percy also possessed a few non-heroic traits, including contemplating harm towards a bully and expressing anger towards a monster that caused his mother's death, revealing a vengeful aspect of Percy's character.
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Віннічук, Алла. "Художня інтерпретація образів козацьких ватажків в історичних романах Миколи Глухенького." Українська література: історичний досвід і перспективи, no. 3 (August 24, 2024): 57–71. http://dx.doi.org/10.31652/3041-1084-2024-3-05.
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This article examines the artistic interpretation of Cossack leaders Semen Nezhyvy, Ivan Gonta, and Maksym Zalizniak in Mykola Hlukhenky’s novel dilogy «Koliivshchyna» and «Kolii». It explores the artistic techniques used for characterization and the specific methods employed to depict the heroics of the national past. Key moments addressing the «man vs. History» dilemma are highlighted. The study demonstrates that Hlukhenkyi’s artistic and philosophical concept of the Cossack leaders’ lives affirms high historical, moral, and ethical pathos, while rejecting national oppression and anti-national politics. The historical facts are seamlessly integrated with the psychological states of the heroes. In his effort to recreate the lives of these historical figures, Hlukhenkyi constructs their identities anew, portraying them as honest, modest, militarily skilled, and nationally conscious characters. Portraits, landscape sketches, and interior descriptions serve significant ideological and artistic functions in the novels. Hlukhenkyi’s innovation lies in his creation of metaphorical images of heroic personalities, representing the advanced stratum of the nation. He depicts the inner potential of individuals searching for themselves amidst crucial historical events. Hlukhenkyi adopts a universal perspective on the heroic past and consistently adheres to realistic writing with dynamic and life-specific plots.
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Nazihah, Kinanti Arti. "ANALYSIS OF THE HEROISM OF THE FEMALE CHARACTER IN J.S KHAIREN'S NOVEL MELANGKAH." Saksama 2, no. 1 (July 14, 2023): 82–93. http://dx.doi.org/10.15575/sksm.v2i1.27232.
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The novel Melangkah by J.S. Khairen tells the story of the adventures of four Economics students who vacation in Sumba, East Nusa Tenggara, only to get the order of human lives in their hands. The novel will be reviewed using a literary sociology approach. This study aims to describe and explain the author's worldview, the social and cultural background of the community, and the heroic values contained in the novel Melangkah. This research is library research. This study used qualitative methodology. The problem in this study is how the elements of the structure of the novel build literary works and the heroic value of female characters are contained in the novel Melangkah. The study consists of three stages, the first of which is data collection. The technique used is the technique of reading notes. After data collection, the next stage is data analysis. Information is analyzed descriptively. The results of the data analysis are then presented in the form of word exposure through the explanation of the novel Melangkah. The validation used is theory triangulation with stages of reading, recording, and analyzing documents. The conclusion of this research is that the female character in the novel Melangkah reflects all heroic values and their characteristics, namely: courage, confidence, truth-keeping, willingness to endure hardship, and generosity. Patience: Resistant to trials, steadfast, calm, unhurried, and not impetuous. Sacrifice; unyielding and desperate, willing to sacrifice for the benefit of the nation, and a reformer.
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Indah Sari, Cici, and Noni Andriyani. "Psikologi Sastra dalam Novel Arafat Rahasia Besar Bocah Gaza Karya Arum Faiza." J-LELC: Journal of Language Education, Linguistics, and Culture 3, no. 1 (February 18, 2023): 36–47. http://dx.doi.org/10.25299/j-lelc.2023.12083.
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This research is focused on the field of literary psychology which discusses personality structure according to Freud, namely id, ego, and superego. The purpose of this study is to describe, analyze, interpret, and conclude the character's personality structure related to id, ego, and superego in Arafat's novel The Great Secret of the Gaza Boy by Arum Faiza. This research belongs to the type of qualitative research with descriptive methods (content analysis). The data in this study are quotes of words, phrases, clauses, and sentences that contain personality structures, namely id, ego, and superego contained in Arafat's novel The Great Secret of the Gaza Boy by Arum Faiza. From the results of research on the personality structure of the id, ego, and superego, the dominant element is the ego. Ego personality structure found as many as 20 data. The personality structure of the ego is more dominant because in Arafat's novel The Big Secret of the Gaza Boy tells of heroism. Because of the heroic theme of the novel, what appears the most is the ego personality structure. When talking about heroism, it must be real or real action. To support this, the author makes the characters appear more real in the novel. To show the heroic side can not be from id. Because to show the heroic side you have to look real, therefore you have to appear with ego.
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Pomarański, Marcin. "Konstantin Tsiolkovsky’s heroic techno-utopia." Studia z Dziejów Rosji i Europy Środkowo-Wschodniej 56, no. 3 (January 3, 2022): 161–74. http://dx.doi.org/10.12775/sdr.2021.en6.08.
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In this paper, the author attempts to answer the question about the nature of the ideal society presented by Konstantin Tsiolkovsky in his utopian novel Beyond the Planet Earth. The specificity of this vision will be discussed by analysing its connections with Tsiolkovsky’s hallmark cosmophilosophical monism, as well as with his naturalistic approach to scientific research. For this purpose, the utopian elements of the vision will be analysed with particular emphasis on the scientific and technological layer. This will allow us to treat the concept as both a technological and a heroic utopia.
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Al-Aghberi, Munir Ahmed, and Hussein Saleh Ali Albahji. "Antiheroes in Mock-heroic Battles: Post 9/11 Alternatives in Jess Walter’s Novel The Zero." International Journal of Language and Literary Studies 5, no. 2 (July 15, 2023): 24–36. http://dx.doi.org/10.36892/ijlls.v5i2.1268.
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Placing Jess Walter's The Zero within a post 9/11 counter discourse, the present study examines the novel as a modern mock-heroic fictional work. The novel is critically analyzed as a parody of both the detective fiction genre as well as the early post 9/11 fiction adopting the American official narrative. The argument proceeds through three sub-headings. The first part queries the novel's representation of antiheroism in response to the discourse of heroism prevalent in American culture. The second part ponders on the mock-heroic battles and situations taking place as part of the US war against terror. The last part tackles the multilayered parody by which the novel addresses the hyperreal world by the mainstream media create to overshadow the event's factual enigma.
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Adhikari, Tara Prasad. "Teasing out History: Rushdie’s Midnight’s Children towards Mock Heroism." Harvest 2, no. 1 (May 15, 2023): 107–18. http://dx.doi.org/10.3126/harvest.v2i1.54412.
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This paper claims that Rushdie develops his protagonist Saleem as an unreliable anti-hero. In doing so, the novel borrows tools and techniques of Mock Heroism. The Restoration and Augustan authors John Dryden and Alexander Pope are chiefly responsible for the mock-heroic genre. A mock-heroic book parodies the heroic style in literature in a sarcastic fashion, mimicking the actions or manner of a hero, often comically in nonheroic circumstances. Saleem claims to be the new India’s voice, taking on significant political responsibility and “evoking” these heroic deeds. He is, however, powerless, nd his magical ability to spy on people is dependent on a disproportionately large nose. His reliance on his cucumber nose to sense the true history is really hilarious. In this sense, Saleem is undoubtedly an absurd hero because his attempt to recapture what has been already lost is an absurdist attempt. Saleem is well aware that his historical account of India will be incomplete anyway. Despite this, he does not hesitate to boast that he is the truest of the historians and his version of India is much better.
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Korn, Uwe Maximilian, Dirk Werle, and Katharina Worms. "The carmen heroicum in Early Modernity (Das carmen heroicum in der frühen Neuzeit)." Daphnis 46, no. 1-2 (March 15, 2018): 1–14. http://dx.doi.org/10.1163/18796583-04601014.
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The special issue at hand provides a contribution to the historical exploration of early modern carmina heroica (epic poems) in the German area of the early modern period, especially of the ‘long’ 17th century. To this purpose, perspectives of Latin and German Studies, of researchers with expertise in medieval and modern literary history, are brought together. This introductory article puts the following theses up for discussion: 1) The view that epic poems of the early modern period are a genre with little relevance for the history of literature is wrong and has to be corrected. 2) Accordingly, the view has to be corrected that the history of narrative in the modern era leads teleologically to the modern novel. 3) For the exploration of the history of carmina heroica, the traditions of didactic poems and heroic poems have to be taken into consideration together. 4) Epic poems of the ‘long’ 17th century have a particular tendency to generic hybridization. 5) The genre history of carmina heroica can be reconstructed appropriately only by taking into account the vernacular as well as the Latin tradition.
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Alexandrova, A. A. "AUTHORIAL MODALITY IN LOW POETIC BURLESQUE BY SAMUEL BUTLER “HUDIBRAS”." Memoirs of NovSU, no. 1 (2024): 118–24. http://dx.doi.org/10.34680/2411-7951.2024.1(52).118-124.
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The article deals with the question of subjective authorial modality in fictional texts. Different interpretations of the term are analyzed, and universal types of authorial modality are distinguished – heroic, tragic, comic and romantic. In order to reveal peculiarities of authorial modality, burlesque is analyzed. Burlesque is a comic secondary genre (imitating a certain text-typological model), comic effect of which is determined by sharp contrast between the subject of description and the style of expression. English-language low poetic burlesque by Samuel Butler "Hudibras" is subjected to linguistic and literary analysis. This burlesque was written in 1678 and it imitates text-typological model of chivalric novel. Markers of heroic and ironic authorial modality in “Hudibras” are revealed. Two parallel plans of modality of "Hudibras" are described and it is concluded that in the given text one can observe mock-heroic authorial modality.
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Minasyan, Edik. "THE HEROIC BATTLE OF MOUNT MUSA AND THE VALIANT DEEDS OF THE ARMENIAN WOMEN." Armenian Folia Anglistika 20, no. 2(30) (December 17, 2024): 195–202. https://doi.org/10.46991/afa/2024.20.2.195.
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This article, dedicated to the 90th anniversary of Franz Werfel’s heroic novel The Forty Days of Musa Dagh, presents the valiant deeds and heroism of Armenian women during the self-defense of Mount Musa, when Mount Musa of Suetia province became one of the prominent self-defense centers of Armenians. Our analysis of this heroic episode of Armenian history presents the reader with a new genocidal policy adopted and elaborated against the Armenians by the government of the Ottoman Empire in 1915. In our study, we have used works published in Armenia and abroad, some of which are primary sources.
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Constandachi, Alexandru. "The Novel of Alexander and the Model of the Ideal Hero in Medieval Russia." Analele Universităţii "Dunărea de Jos" din Galaţi Fascicula XIX Istorie 9 (December 5, 2010): 33–40. http://dx.doi.org/10.35219/history.2010.01.
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In medieval Russia, the image of the ideal hero, embodied in the person of the Prince, is implied, according to the Novel of Alexander, by the glorification of the Macedonian king. A number of battle-scenes included in the Novel of Alexander are echoed in Russian medieval heroic stories of a later date. The parallel between Alexander’s name and that of the hero of Neva, as well as the presence of plastic images of the Macedonian conqueror in the Orthodox cathedrals of Vladimir are some aspects that show as clear as possible the correspondence between the image of the medieval Russian hero and the personality of Alexander the Great. The use of the heroic image of a fearless king, in order to strengthen the political power of Russian military and cultural centers, reveals the ideological importance of Alexander in the centralization of the medieval Russian state.
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Lee, Ji-won. "A Study on heroic novel ShuoTangyanyi(說唐演義)." Korea Journal of Chinese Language and Literature 85 (September 30, 2021): 31–54. http://dx.doi.org/10.46612/kjcll.2021.09.85.31.
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Nasiri, Nader. "Reading Savushun: An Abyss Between Heroic Life and Everyday Life." Iran Academia Journal, no. 9 (August 2022): 11–17. http://dx.doi.org/10.53895/iccifpe4.
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In the last years of the 1960s, in which Savushun is published, the contradictions of the Iranian society, arising due to the process of modernization, are accelerating to meet their climax in the 1978 revolution. Daneshvar, in this novel, makes an attempt to address this society and to provide it with solutions that remain ultimately imaginary, hence ideological. In this essay, by utilizing Fredric Jameson’s system of analysis, specifically the first of the three horizons he constructs, namely the political horizon, I will reconstruct the historical dilemma which is responsible for generating the narrative apparatus of Savushun. In this fashion, I will recognize a basic duality in the form of the novel which is to be scrutinized to reveal the ideological double-bind inherent in it. This ideological closure illustrated in Greimas’ semiotic rectangle is then to be rendered by the main characters of the novel both not to remain abstract and to be talked about as a social contradiction. In other words, the ambivalent form of the novel is taken into consideration as a way for a meditation on the history underlying it. This part of the history of modern Iran is going to be discussed as a matter of doubt for the cultivated middle-class society of the 1960s, facing and participating in the process of modernization, to know whether they should succumb to the new streams of development wholeheartedly or they could resist it to some extent –but to what extent? – to come up with modern life of their own. Mike Featherstone’s distinction between heroic life and everyday life is employed to conceptualize this historical dilemma from which the novel thrives.
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Mohd Ali, Tengku Intan Marlina, and Salinah Ja’afar. "Adolescent Knowledge Indexes in Detektif Indigo." Malay Literature 26, no. 1 (June 8, 2013): 80–99. http://dx.doi.org/10.37052/ml.26(1)no5.
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Teenagers or adolescents today are more exposed to a variety of reading materials, whether produced by local or international publishers. Most of the novels revolve around the story of young love, friendship, family, school and natural life. Novels with a detective or investigation theme are also being produced to court young readers. The latter type of novels not only have their charm, but are also said to be able to hone young minds to think in-depth about current and global issues. Detektif Indigo ( Indigo Detectives ) is a novel in a series of detective novels written by Faisal Tehrani. It is about a group of youths calling themselves Detektif Indigo. The analysis will be using Peirce’s Theory of Semiotics (1965) focusing on knowledge indexes regarding Islam, international relations, social relations and science in the novel. There are many aspects of knowledge that can be extracted from this work in order to shape young minds. Keywords: Detektif Indigo, hero, heroism, heroic deeds, heroic age, ethnocentrism
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Hepburn, Allan. "The Heroic Today: Elizabeth Bowen and the Technique of the Novel." Irish University Review 51, no. 1 (May 2021): 57–71. http://dx.doi.org/10.3366/iur.2021.0495.
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Over her career, Elizabeth Bowen published ten novels, yet she left no comprehensive theory of the novel. This essay draws especially upon ‘Notes on Writing a Novel’ (1945), ‘The Technique of the Novel’ (1953), and ‘Truth and Fiction’ (1956), as well as opinions that Bowen expressed in her weekly book columns for The Tatler, to formulate her key perceptions of, and rules for, writing a novel. Bowen defined her ideas by drawing upon the empirical evidence of novels by Elizabeth Taylor, Olivia Manning, H.E. Bates, Jane Austen, Gustave Flaubert, and numerous others. She gave particular thought to ‘situation’, by which she means the central problematic or the crux of the story. The situation precedes and fuels plot. The Second World War, Bowen claimed in her essays and reviews, had a decisive influence on heroism and contemporary fiction by heightening its scale and its repertory of situations.
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Dr. Shayequa Tanzeel. "Silent Struggles: Women in Salma’s The Hour Past Midnight." Creative Launcher 6, no. 3 (August 30, 2021): 14–17. http://dx.doi.org/10.53032/tcl.2021.6.3.03.
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The paper intends to analyse the heroic lives of Muslim women, who are oppressed in the name of culture, tradition, and religion through a textual analysis of the novel The Hour Past Midnight, written by the Tamil writer Salma and translated by Lakshmi Holmstrom. The paper explores the struggles faced by the hero(in)es in the novel. Originally written in Tamil, and entitled Irandaam Jaamathin Kadhai, the novel depicts the challenging lives of Muslim women living in a cloistered space. The novel narrates the incidents in the lives of Rabia, her mother Zohra; Rahima, Wahida, Firdaus, Mumtaz, Farida and some other women of the neighbourhood. All of them are victims of the misogynist and patriarchal mind-set of their community. Some of these women stay silent, and endure every kind of pain and suffering with extreme patience and resilience. Others choose to defy the norms which are set for them and live on their terms. They stand up for their individuality, rights, and dignity. Each of these women, nonetheless, demonstrates heroic courage, fortitude, resilience, and resistance. By facing the predicament of their lives boldly, and by challenging the patriarchal institutions, these characters demonstrate that each of them is an individual full of potential.
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Ahn, Gee-Soo. "How to Shape and Meaning Heroic Novel Characters for Game Storytelling." Studies of Korean Literature 75 (July 31, 2022): 43–79. http://dx.doi.org/10.20864/skl.2022.7.75.43.
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Meidiansyah, Reza Akbar. "HEROISM OF SAMIRAH AL-ABBAS IN RIORDAN’S THE SHIP OF THE DEAD." PARADIGM: Journal of Language and Literary Studies 5, no. 2 (March 8, 2023): 133–44. http://dx.doi.org/10.18860/prdg.v5i2.17459.
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People tend to associate heroes and heroism with the acts of being brave and risking life. However, actions that have both of these features are far more likely to generate heroic labels than actions that have only one feature. This paper aims to show the heroism of Samirah al-Abbas in the Rick Riordan’s third novel of the Magnus Chase and the Gods Of Asgard trilogy entitled The Ship of The Dead. This paper approaches the heroism values of the character by applying the concept of the Great Eight popularized by George R. Goethals and Scott T. Allison. The findings show that throughout the plot of the book, Samirah exhibited six of eight heroic traits, which are caring, charismatic, inspiring, selfless, smart, and strong.
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Zhang, Ting. "Captain Ahab as a Hero in Melville’s Moby-Dick." Economic Society and Humanities 1, no. 5 (May 2024): 127–32. http://dx.doi.org/10.62381/e244516.
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Herman Melville’s Moby-Dick tells the story of Ishmael, a sailor who joins the whaling ship Pequod, captained by the obsessed and vengeful Captain Ahab. Ahab’s sole mission is to hunt down and kill the legendary white whale, Moby-dick, who had previously bitten off Ahab’s leg at the knee. As a towering masterpiece of American literature, Moby-Dick is a novel that defies simple categorization and is renowned for its rich narrative complexity and profound thematic depth. Central to the novel is the character of Captain Ahab, whose quest to vanquish the white whale, Moby-dick, forms the back bone of the story. On the one hand, Ahab embodies various heroic qualities; on the other, Ahab is also perceived as a monomaniacal villain due to his apparent flaws and descent into madness. Through an examination of Ahab’s actions, motivations and interactions, this essay argues that Ahab’s heroism is multifaceted, encompassing elements of classical heroism as well as tragic heroism by exploring Ahab’s heroic traits and their implications in the broader context of Melville’s masterpiece.
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Terekhova, Iryna. "Legends in P. Kulish's Historical Novel “Black Council. Chronicle of 1663”." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 14, no. 25 (2021): 101–10. http://dx.doi.org/10.34079/2226-3055-2021-14-25-101-110.
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The article examines legends are functioning in the Russian-language novel by P. Kulish “Black Council. Chronicle of 1663”. The features of the genre have been determined. It is proved that folk legends emphasize the artistic action of the text in question, give it a touch of mythology. It was found that the legends in the Russian-language novel by P. Kulish “Black Council. Chronicle of 1663” appear in the form of artistic inclusions, which in turn emphasize the historical meaning of the work. The synthetic unity of legend and historical narrative emphasizes the content of the novel, gives it signs of metatextuality. Artistic inclusions of legends in the “Black Council. Chronicle of 1663” presents the author's vision of history. The proposed study examines mythological, apocryphal and historical-heroic legends using the example of a little-known historical work of the author. Mythological legends arose earlier than other types of legends. They were based mainly on pagan traditions, which eventually got lost and left the remnants of ancient ideological thinking. Mythological legends are represented in the Russian-language novel “Black Council” by the stories about the mysterious people of the "dancer", the legend about the fabulous betrothed Lesya and the legend about the Cossack character. The novel by P. Kulish also represents apocryphal legends, the content of which is marked by the reproduction of characters and events from the sacred history, devoid of signs of canonicity. Apocryphal legends in the work under consideration is the legends about Archbishop John and the devil. It also contains a legend that combines the features of both apocryphal and mythological legends – a narrative about the origin of the “Cossack sun”. In the text “Black Council. Chronicles of 1663” by P. Kulish, there is also a historical and heroic legend, which is characterized by a more realistic reproduction of events. An example of a historical and heroic legend in the novel is the legend “Khmelnitsky and Barabash”. Its plot is well known. It coincides with the plot of the folklore Duma of the same name. However, in the interpretation of Kulish, the emphasis is mainly put on such artistic details as Barabash's ring. The proposed article proves that folk legends are informative material for studying of the past, P. Kulish's worldview beliefs, and his reproduction of the historical process.
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Kucharczyk, Łukasz. "(Anty)bohaterowie w gąszczu aluzji. Poetyka powieści fantastycznej w "Słowodzicielce" Anny Szumacher." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no. 3 (December 13, 2021): 223–41. http://dx.doi.org/10.36770/bp.638.
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In the article, I analyze Anna Szumacher’s novel Słowodzicielka as a metatextual work, talking about the conventions and traditions of fantastic literature. I begin by discussing the ontological status of the novel’s characters, their mismatch with the heroic pattern established in the tradition, and I define them as anti-heroes. Then I go on to discuss the intertextual strategies presented in the novel. I end my analysis with a discussion of the morphology of genres change in Słowodzicielka.
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ANDERSON, DOUGLAS. "The Blithedale Romance and Post-Heroic Life." Nineteenth-Century Literature 60, no. 1 (June 1, 2005): 32–56. http://dx.doi.org/10.1525/ncl.2005.60.1.32.
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Miles Coverdale's complex emotional posture at the close of Nathaniel Hawthorne's The Blithedale Romance (1852) embodies the plight of post-heroic life in the 1850s: a decade in which the self-proclaimed "children" of America's revolutionary founders wrestled with the lingering contamination introduced into public life by the invidious nexus of slavery and the Mexican War. America, as Theodore Parker fiercely proclaimed in 1846, had become "a dead nation corrupting beside its golden tomb." Hawthorne's third novel in three years-a feverish rate of production-portrays a cultural climate obsessed with its secret and shameful wounds. The prophylactic zone of Blithedale farm, in fact, hosts a variety of spiritual and physical contagions, perfectly suited to Coverdale's epidemiological imagination and reflected in the moody volatility of his story. Each of the book's central characters responds to what its narrator terms the "diseased action" of the heart, forming a collective portrait of social and moral pathology that no utopian dream can effectively check. Zenobia's eloquent delirium at the book's conclusion, and Miles Coverdale's enigmatic malaise, capture in distinct and poignant ways the painful conjunction of majesty and futility to which the post-heroic condition ultimately leads.
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Askarova, G. "HEROIC SPIRIT IN THE STORIES OF OMER SЕYFEDDIN." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 416–21. http://dx.doi.org/10.51889/2020-2.1728-7804.67.
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The article ideologically analyzes the artistic techniques of Omer Seyfeddin, the founder of the genre of the Turkish realist novel, as well as valuable works created by him in this small genre. Analyzing the ambitious spirit and heroic pathos of the Turkish ethnos in the writer's works published in the Kazakh language “Rower”, “Ambassador”, “Martyr”, the author expresses the emotional and expressive influence of patriotism. The article considers the relevance of teaching the works of O. Seyfeddin, who occupies a special place in the literature with his colorful works.It is alleged that the author intends to educate the next generation in patriotism, honesty and heroism, glorifying and promoting the heroic deeds of those who sacrificed their lives for the unity and freedom of the country and put their lives above the interests of the nation. Eternity of humanistic works of the outstanding writer of the fraternal Turkish people O. Seyfeddin proved.
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Derii, Maryna. "DYNAMICS OF LOVE MOTIVES IN JACK LONDON’S ADVENTURE NOVEL «HEARTS OF THREE»." Scientific Journal of Polonia University 51, no. 2 (June 14, 2022): 49–54. http://dx.doi.org/10.23856/5106.
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The article is devoted to the study of the work of American writer Jack London and his use of such a literary concept as «love motives». In the works of Jack London, one can often observe a reference to the ancient heroic epic and mythology. It can be said that the Klondike is a kind of prototype of the modern heroic epic and mythopoetics of Jack London, which is opposed to modern Western civilization, creating points of contact and mutual transition between the two worlds. A characteristic feature of the artistic world of Jack London is a branched motivating organization. The article examines the dynamics of love motives in Jack London’s adventure novel «Hearts of Three». The author describes the literary techniques that the author uses to embody love motives. The motives of love in the novel can be found in the monologues of the characters, their actions, words and the construction of the plot, the center of which is a love story. The main means of conveying the feelings of lovers in Jack London’s novel is the dialogue between the characters, because the writer, as a representative of realism, presents people as simple earthly creatures, truthfully depicts reality and doesn’t share romantic feelings and everyday problems, but describes them as they are, without decorations and exaggeration. Honor, dignity and friendship are the main features of the characters, they are guided through life.
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Berestovskaya, Diana S. "Philosophical and Ethical Intensions of the Category of Heroic in L.N. Tolstoy’s Early Works." Observatory of Culture 15, no. 5 (December 14, 2018): 592–98. http://dx.doi.org/10.25281/2072-3156-2018-15-5-592-598.
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Texts of culture, which act as “generators of meaning”, are associated by Yu.M. Lotman, in his work “The History and Typology of Culture”, with the problem of memory that makes possible the reconstruction of the history of culture from its synchronic slices.The study of L.N. Tolstoy’s early works allows to judge the figurative character of the philosophical ethical intentions of the category of heroic that were embodied in the topic of “man and war”.The category of heroic is reflected in the concept of ancient philosophers — Plato (“Dialogues”), Aristotle (“Ethics”, “Poetics”), in the treatise by G. Bruno (“The Heroic Frenzies”), in the philosophy of G.W.F. Hegel (“Aesthetics”), and others. In the context of developing the idea of “man and war” and revealing Leo Tolstoy’s interest in ancient philosophy, the article aims to explore the embodiment of these intentions in the works of the great writer and to note the peculiar “echoes” of his thoughts about justice, courage or cowardice in battle by the examples of his works (the story “Raid”, “Caucasian Stories”, and others). Special attention should be paid to “Sevastopol Stories” created during the Crimean (Eastern) War by L.N. Tolstoy, an artillery officer who served in the most dangerous place of the Sevastopol defense (the 4th bastion). They reveal the essence of “true” and “false” courage, the relations between artillery soldiers and junior officers, the theme of the feat and other problems, which was later developed in the epic novel “War and Peace”.The article actualizes the issue of traditions (from Plato to Hegel), the development of Leo Tolstoy’s ideas, the analysis of human behavior in a situation of mortal danger, the problem of the heroic and the tragic, reflected in the “military” prose of writers — participants of the Great Patriotic War: Yu.V. Bondarev, V.V. Bykov, G.Ya. Baklanov, V.O. Bogomolov, K.D. Vorobyov, K.M. Simonov, and others.
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Fakhruddin, Rohmat Anang. "Heroic Journey of Katniss Everdeen in Suzanne Collins' Novel Catching Fire." ATAVISME 22, no. 2 (December 31, 2019): 233–45. http://dx.doi.org/10.24257/atavisme.v22i2.553.233-245.
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This research aims to reveal the journey of Katniss Everdeen by using monomyth cycle in Suzanne Collins’ novel Catching Fire (2009). This research used the literary criticism that employs the monomyth cycle of Joseph Campbell. The monomyth theory was used to explore Katniss’ heroic journey within the novel Catching Fire. All data were classified into the following stages of monomyth cycle: departure, initiation, and return. Each stage represented the development of Katniss’s traits during her journey. From the analysis, it was discovered that Katniss began her journey by adapting herself in Victor’s Village after winning the 74th Hunger Games. She began her journey after President Snow provided her a challenge to convince him to reduce the uprising acts in each District. She refused to return home since she must rescue Peeta. Therefore, this paper concludes that this novel can be a continuity step of Katniss’ Journey for transforming herself to be a heroine at the end of her Journey.
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Koźmiński, Andrzej K. "Leadership in the Time of Plague." Central European Management Journal 30, no. 1 (March 15, 2022): 2–10. http://dx.doi.org/10.7206/cemj.2658-0845.67.
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The main point of this article is comparison of two types of leadership: heroic, individualistic, formal, and dispersed, networked, spontaneous. The first is presented in the famous novel by Antoine de Saint Exupery The night flight the second is depicted in Plague by Albert Camus. Formal leadership is experiencing nowadays visible deficit of power. Even the top political leaders of the world, CEOs of global corporations and media moguls are not as powerful as the used to be and not as powerful as they seem. Many of them openly admit that they are simply not able to fulfill their promises and to follow their agendas. This is particularly visible in the times of plague. When degenerated “heroic” traditional power gradually evaporate new networks replace it spontaneously. People who do not seek rewards take over burden of responsibilities in the critical fight against plague. To what extent they will be able to replace the leftovers of traditional leadership?
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Peng, Na. "Explore the Representation of Heroic Elements in Saving Opera." International Journal of Education and Humanities 13, no. 1 (March 14, 2024): 37–38. http://dx.doi.org/10.54097/zvq7fk58.
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The New Grove Dictionary of Music and The Musician defines the term "saving opera" as "an ambiguous term with a plot development pattern of" one or more people save the protagonist from physical and mental distress ". Salvation opera is especially so because of the word "salvation". Before the French Revolution, the creation "horror" appeared in the field of European literature. With the "Gothic novel" as the main representative, it creates a very mysterious and scary atmosphere for people. It is this "horror" factor that affects the creation of opera. Symatic themes are repeatedly used in operas, such as "Dark", "Cage", "mistreated women", etc. It stimulated the script writer's curiosity and explored under this theme, when the prototype of the rescue opera began to form."Gothic" literature brought rescue opera an unprecedented style of comic opera. However, the rescue opera at this time has not formed its unique artistic value and spiritual significance, and has not yet had a profound impact on the society at that time.
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Zlochevskaya, Alla V. "The concept of the heroic in V. Nabokov’s Glory [Podvig]." Voprosy literatury, no. 6 (December 20, 2019): 245–65. http://dx.doi.org/10.31425/0042-8795-2019-6-245-265.
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The article offers a new interpretation of the heroic theme in V. Sirin’s novel Glory [ Podvig ] (1932). The protagonist’s ‘deed’ was not only to show personal courage, but also to fulfil the secret and unabated desire of all Russians scattered across the world (including the author) to return to their country. Nabokov’s/Sirin’s realization of the heroic is based on the threedimensional model of existence, characteristic of mystical metaprose, where the reality of the physical world is fertilized by the author’s metaphysical epiphanies and recorded in the reality of the novel’s text. Glory’s uniqueness also stems from the fact that the character’s inner world is three-dimensional too: of all Nabokov’s characters, Martin Edelweiss is the first to gain such an experience in full. As far as the personality traits are concerned, the protagonist is a very close imitation of V. Sirin himself. Although lacking a talent for writing, Martin still shows a budding skill for prose. All in all, the narrative model creates an illusion of the character and the author blending almost completely.
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Kazanova, Yuliya. "‘The instinct of resistance to evil’: Postmemory and the Ukrainian national imaginary in Oksana Zabuzhko’s novel The Museum of Abandoned Secrets." Memory Studies 15, no. 2 (October 5, 2021): 436–50. http://dx.doi.org/10.1177/17506980211044710.
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Building on Marianne Hirsch’s concept of postmemory, this article examines Oksana Zabuzhko’s latest novel The Museum of Abandoned Secrets as postmemorial fiction, which articulates the trauma of Soviet political repressions in the post–World War II period and in the 1970s via the perception of the second and third generation. The affiliative postmemory about World War II in Ukraine from the viewpoint of Ukrainian Insurgent Army partisans is emplotted via an original generic combination of contemporary Holocaust fiction and romances of the archive. Postmemory is used in the novel to shape a mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.
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Kazanova, Yuliya. "‘The instinct of resistance to evil’: Postmemory and the Ukrainian national imaginary in Oksana Zabuzhko’s novel The Museum of Abandoned Secrets." Memory Studies 15, no. 2 (October 5, 2021): 436–50. http://dx.doi.org/10.1177/17506980211044710.
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Building on Marianne Hirsch’s concept of postmemory, this article examines Oksana Zabuzhko’s latest novel The Museum of Abandoned Secrets as postmemorial fiction, which articulates the trauma of Soviet political repressions in the post–World War II period and in the 1970s via the perception of the second and third generation. The affiliative postmemory about World War II in Ukraine from the viewpoint of Ukrainian Insurgent Army partisans is emplotted via an original generic combination of contemporary Holocaust fiction and romances of the archive. Postmemory is used in the novel to shape a mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.
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Silva, Amós. "ACHEGAS SOBRE O SIMBOLISMO DO EPÍTETO." Revista Épicas 8, no. 2020 (December 30, 2020): 168–86. http://dx.doi.org/10.47044/2527-080x.2020v8.168186.
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Etymological formulations of the epithet since the classic epic. Comparison between the man of yore and that of today and between archaic and primitive societies, with recurrence of theoretical notes from commentators, mythographers and philosophers, to interdisciplinarily observe the presence of otherness in the dialogues. Highlighted the intertextual game in historical time, showing relationships between poetic and religious expressions to mark a poetic line in epic and novel forms, to mark a poetic line in epic and novel forms, alongside the sacred in myths. Etymological concept of epithet in the hero, in the divine element and in action, sometimes divine, sometimes heroic, with sublimated achievements or with the cunning trickster creations.
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Petrone, Karen. "Gender Identity and the Myth of the “Great Patriotic War” in Svetlana Alexievich’s The Unwomanly Face of War." Canadian-American Slavic Studies 58, no. 3 (July 15, 2024): 316–38. http://dx.doi.org/10.30965/22102396-05803017.
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Abstract Nobel Prize winner Svetlana Alexievich’s first book U voiny ne zhenskoe litso (The Unwomanly Face of War), a “novel in voices” based on oral histories, challenges the heroic narratives of the late Soviet myth of the Great Patriotic War by depicting the ordinary lives of Soviet women soldiers. Alexievich contends that war is “unwomanly” and downplays the overt challenges to traditional gender roles that women soldiers posed. Nevertheless, she includes episodes that undermine her own assertions about women’s difference from men and their desire to preserve life, creating ambiguity in her message and offering glimpses of an alternative gender order lurking under the surface. These alternative possibilities of understanding gender threaten both the war myth and the norms of Soviet gender relations.
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Brevda, William. "Thackeray’s Vanity Fair of Hats." Victorians: A Journal of Culture and Literature 145, no. 1 (June 2024): 1–23. http://dx.doi.org/10.1353/vct.2024.a931639.
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ABSTRACT: In Vanity Fair: A Novel without a Hero , William Makepeace Thackeray uses hats to illustrate his mock-heroic characters and to reinforce the novel’s theme of “ Vanitas Vanitatum! ” Of these hats—including cocked hats, top hats, shovel-hats, shakos, and bonnets—the narrator’s fool’s cap is the most symbolically important. Adopting a dual perspective of “Satire and Sentiment,” the narrator shows that “All is vanity.” If the vanity of life is inescapable, he implies, then the only consolation is laughter.
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Brevda, William. "Thackeray’s Vanity Fair of Hats." Victorians: A Journal of Culture and Literature 145, no. 1 (June 2024): 1–23. http://dx.doi.org/10.1353/vct.00002.
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ABSTRACT: In Vanity Fair: A Novel without a Hero , William Makepeace Thackeray uses hats to illustrate his mock-heroic characters and to reinforce the novel’s theme of “ Vanitas Vanitatum! ” Of these hats—including cocked hats, top hats, shovel-hats, shakos, and bonnets—the narrator’s fool’s cap is the most symbolically important. Adopting a dual perspective of “Satire and Sentiment,” the narrator shows that “All is vanity.” If the vanity of life is inescapable, he implies, then the only consolation is laughter.
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YAQIN, AMINA. "Truth, Fiction and Autobiography in the Modern Urdu Narrative Tradition." Comparative Critical Studies 4, no. 3 (October 2007): 379–402. http://dx.doi.org/10.3366/e1744185408000086.
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From its various beginnings in the nineteenth century and ever since the rise of print capitalism on the Indian subcontinent, the Urdu novel has become a prime medium of expression for writers seeking to fuse the narrative traditions of both the East and the West. As a hybrid genre which took shape during the nineteenth century, the Urdu novel's early beginnings were associated with the theme of historical romance; this eventually gave way to the influence of realism in the first half of the twentieth century. By and large, the Urdu novel incorporates influences encompassing the fantastical oral storytelling tradition of the dastan or the qissa (elaborate lengthy heroic tales of adventure, magic and honour), the masnavi (a form of narrative poem), Urdu grammars, religious pamphlets and journals, and the European novel.
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Аbiyr, К. Е. "REPRESENTATION OF NATIONAL IDEALS AND HEROIC SPIRIT IN NOVEL-DIOLOGY RAIYMBEK BATYR BY ZH. TURLYBAIULY." Keruen 85, no. 4 (December 25, 2024): 101–14. https://doi.org/10.53871/2078-8134.2024.4-08.
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In this article, relying on the works of scientists-researchers and analysing the heroic epic, thetheme of the image of Rayimbek Batyr in the oral folk art is considered. In Kazakh literature the collectiveimages of Rayimbek Batyr complement each other, a versatile view of the hero’s image is considered, payingspecial attention to the multifaceted description, a gallery of images of the brave man is created. The purposeof the article is to study the transformation of the image of Raiymbek batyr from the point of view of nationalinterests, his role in the history of the country, heroism of Raiymbek, who became our national motto, reflectingthe principle of folklore and literary continuity. The relevance of the research in the article is that it shows theheroism and courage in the trials endured by heroes such as Raiymbek, thanks to whom the country gainedindependence and became a fundamental state. In the course of achieving the set goal, the state archives werereviewed, valuable information about heroes-heroes was used, work was done to analyse research papers,conclusions of scientists studying the image of Raiymbek Batyr. The results of the analysis showed that theplot structure of the novel is systematized on the basis of similar motifs and parallels inherent in archaic,heroic, historical, romantic, and epic epics in the world folklore heritage, including national folklore. In theera of modern globalisation, in order not to disappear as a nation, education by the example of such heroesas Rayimbek is one of the urgent problems of our time. We consider the value of the article and the practicalsignificance of the results of the work to be the assertion that the work is a spiritual mirror of the Turkic world,a spiritual phenomenon that is promoted as a teaching of global exploits and serves the good of humanity.
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Indrikov, Aleksey A. "Ernst Jünger’s Phenomenon: Building “Beyond Oneself”." Tekst. Kniga. Knigoizdanie, no. 25 (2021): 22–37. http://dx.doi.org/10.17223/23062061/25/2.
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The article deals with the creative phenomenon of the German writer and thinker Ernst Jünger and his literary works that have formed a special, monumental and heroic matrix of European culture. The essence of this matrix is shown through deducing its main task – that is, as the author proposes, to preserve the semantic bridgehead for de-picting the heroic and the poetic, which is to confront the world of the simple non-spiritual demands of a consumer society. Contemporary European culture demands, as the author consistently proves, the monumental and heroic matrix. Since the second half of the 20th century, the European culture has found itself at a difficult civilizational crossroads: on the one hand, culture has been actively shaped by existentialism as an ideology of avoiding social transformation of the external world; on the other hand, European culture has been significantly pressed by the American culture of entertain-ment which invaded Europe even more after the end of World War II. As a result, Eu-rope has more and more abandoned its heroic, monumental and historical heritage. The matrix of culture formed by Jünger appears as a special edifice built on the notion of a person’s destiny and one’s spiritual capability revealed in a large-scale military con-frontation, in the war of “spaces”. The article discloses the peculiarities of Jünger’s monumental outlook on war as on a special cultural and historical landscape where an individual life is shaped into the destiny “beyond oneself”, into the fates of peoples and states. Jünger’s creative phenomenon is considered on the example of his first and most famous book, Storm of Steel, which is essentially authentic to the monumental and he-roic matrix of European culture. The unique and timeless value of this work is shown through its special historical and meta-cultural causality. The specific aspects of Jünger’s literary philosophy are shown as an embodiment of a doctrine that provides spiritual exaltation for the one who has aspired to create. The cultural-philosophical analysis of Jünger’s literary work undertaken in the article allows the author to draw to a conclusion about the heroic-monumental content of the Europe-an culture matrix, literally “encoded” in the compressed form of the novel Storm of Steel. As it follows from the research conducted by the author, there is a vital need in the culture for transforming the external world by the joint efforts of the heroes of one’s time, united by the task of a large-scale spiritual evolution of the humanity embodying their mission.
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Saidova, Bibi Robia. "THE PROBLEM OF LONELINESS IN THE UZBEK NOVEL OF THE INDEPENDENCE PERIOD: ON THE EXAMPLE OF THE ANALYSIS OF TOGAY MURAD'S WORK "YOU CAN'T DIE IN THIS WORLD"." INTERNATIONAL JOURNAL OF WORD ART 5, no. 3 (May 30, 2020): 174–79. http://dx.doi.org/10.26739/2181-9297-2020-5-27.
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The article reflects the close connection between the author's psyche and the psyche of the work of art. As the system subject to certain rules changes, some aspects of society also change, but the evolution of the heroic psyche, which has struggled to get out of the mold of the environment in which it has lived for most of its life, has been interpreted
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Shoinzhanova, Madina, and Bolatbek Batyrhan. "PERSONALITY OF THE CHARACTER OF THE NATIONAL HERO IN INDIAN AND KAZAKH LITERATURE." KAZAKHSTAN ORIENTAL STUDIES 12, no. 4 (December 21, 2024): 306–17. https://doi.org/10.63051/kos.2024.4.306.
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The topic of our article is about the heroism of Mountain in the novel «Mountain» by the philosopher, writer, poet Rabindranath Tagore and the heroism of Turar Ryskulov in the novel «Red Arrow» by Sherkhan Murtaza, a famous writer, journalist, translator, public figure of the Kazakh people. Although the life expectancy of these two writers is about sixty years, the main theme of their novel was radical changes in society. That is, the work and spiritual quest of the hero of the novel during the period of colonial policy are combined with self-knowledge and discoveries. The colonial policy of the English imperialists in India and the Russian colonial policy on Kazakh soil are based on many works and form a rich literary heritage in these countries. Some of the most important and unique of them are the novel «Mountain» in Indian literature and the novel «Red Arrow» in Kazakh literature. A heroic character in the literary heritage of each nation is a person who risked his life for the sake of the people during a crisis period of this society, striving for the interests of the majority, and not for his own personal interests. Hard times in society shape people, and people serve society, and not themselves. This article describes the character of the heroes of Mountain and Turar in Tagore's novels «Mountain» and «Red Arrow» by Sherkhan, their thoughts on the situation of the people and their heroic work along this path. The purpose of the article is to compare the influence of the work of the novel heroes of Kazakh and Indian literature on society, their activities that contribute to the awakening of the national spirit. The article uses such methods of scientific research as comparative analysis, differentiation, critical methods. As a result of the comparative analysis of the two novels, the similarity of the characters of the novels of two peoples who lived in two historical periods is described. The relative similarity of these two characters-heroes suggests that the risk of a new direction served to awaken the national spirit of society.
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Thomas, Peter D. "Reverberations of The Prince: From ‘heroic fury’ to ‘living philology’." Thesis Eleven 147, no. 1 (August 2018): 76–88. http://dx.doi.org/10.1177/0725513618787661.
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This article explores the ways in which Gramsci’s engagement with Machiavelli and The Prince in particular result in three significant developments in the Prison Notebooks. First, I analyse how the ‘heroic fury’ of Gramsci’s lifelong interest in Machiavelli’s thought develops, during the composition of his carceral writings, into a novel approach to the reading of The Prince, giving rise to the famous notion of the ‘modern Prince’. Second, I argue that the modern Prince should not be regarded merely as a distinctive (individual or collective) figure, but rather should be understood as a dramatic development that unfolds throughout ‘the discourse itself’ of the Prison Notebooks, particularly in the crucial phase of reorganisation in the ‘special notebooks’ composed from 1932 onwards. Third and finally, I suggest that the combination of the two preceding themes is decisive for understanding the modern Prince as a distinctive form of political organisation. Rather than equated with a generic conception of the ‘(communist) political party’, this notion was developed as a part of Gramsci’s larger argument regarding the necessity for anti-Fascist political forces in Italy in the early 1930s to grow into an antagonistic collective body guided by principles of ‘living philology’.
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Valentim, Jorge Vicente. "'Talvez um dos Doze de Inglaterra (treze, na verdade, se a história estiver bem contada)' ou de como revisitar o cânone para reinventar outra narrativa: reflexões em torno de "O Magriço", de Tiago Salazar." Cadernos de Literatura Comparada, no. 43 (2020): 117–34. http://dx.doi.org/10.21747/21832242/litcomp43a8.
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The present work aims to reflect on the most recent novel by the Portuguese writer Tiago Salazar, O Magriço (2020), seeking to observe some important points in its construction, since the idea launched in the subtitle of the work (“The true story of D. Álvaro Gonçalves Coutinho, one of the Twelve of England”) until its genological categorization (“historical novel”). Therefore, the postulates of Maria de Fátima Marinho (1999), Mário César Lugarinho (2005) and Umberto Eco (1985), among other important sources, will be articulated to think about how the author expands the constitutive boundaries of the textual typology to compose a novel that revisits the Camonian canon not only to reinvent another narrative, but also to reveal the simplicity and the dissidence of historical agents, often painted solely in heroic tones, as well as their bitterness and their unpleasantness.
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Baker, Ashli J. E. "Mȳthoi Erōtikoi." Mnemosyne 73, no. 6 (May 4, 2020): 999–1024. http://dx.doi.org/10.1163/1568525x-12342751.
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Abstract This article examines the role of Heracles as a mythical figure and god in Achilles Tatius’ Leucippe and Clitophon in order to show the ways in which his representation shapes a reading of the novel. This analysis argues that Heracles, a frequent presence in L&C, is depicted as an erotic figure over a heroic one and that he, therefore, embodies the interweaving of myth, narrative, and eroticism captured in the phrase mȳthoi erōtikoi and thematized throughout the novel. Furthermore, I suggest that the novel’s emphasis on erotic Heracles not only influences the reader’s understanding of Clitophon, but also contributes to the novel’s disruption of the genre’s expectations around heteroeroticism, monogamy, and marriage as the telos of the plot.
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Rice, James L. "The Covert Design of The Brothers Karamazov: Alesha's Pathology and Dialectic." Slavic Review 68, no. 2 (2009): 355–75. http://dx.doi.org/10.2307/27697963.
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A future revolutionary, Alesha Karamazov is, at nineteen, an inexperienced boy who lives in a monastery and who has been considered strange since birth. Fedor Dostoevskii endows him with hysteria—then a serious psychopathology with convulsions that were clinically seen as analogous to epilepsy, the morbus sacer from which Dostoevskii himself suffered. Recognized as an epidemic problem, hysteria in this novel is elaborately deployed as a symbol of Russia's social ills and the underlying cause of farreaching personality changes in Alesha (for better or worse), preparing him for a heroic destiny. Although hysteria was soon altered and later eliminated as a clinical syndrome, James L. Rice enables us to read the novel for the first time in the light of documented medical history.
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Spingarn, Adena. "WHEN UNCLE TOM DIDN'T DIE: THE ANTISLAVERY POLITICS OF H. J. CONWAY'S UNCLE TOM'S CABIN." Theatre Survey 53, no. 2 (August 28, 2012): 203–18. http://dx.doi.org/10.1017/s0040557412000051.
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Although Harriet Beecher Stowe's 1852 novel Uncle Tom's Cabin is widely credited with helping turn the nation against slavery and hastening the Civil War, the theatrical productions based on her novel have precisely the opposite reputation. Many scholars believe that despite the initial antislavery influence of George L. Aiken's 1852 dramatization, the Uncle Tom plays rapidly degraded, becoming more harmful than helpful to African Americans. The plays are also frequently blamed for turning Uncle Tom, the heroic Christian martyr of Stowe's novel, into the submissive race traitor his name connotes today. The “process of vulgarization” that afflicted the Uncle Tom's Cabin dramas is said to have begun almost immediately, with the 1852 premiere of H. J. Conway's adaptation. Today, Conway's version is widely designated a pro-Southern or compromise dramatization of Uncle Tom's Cabin, especially compared to Aiken's influential adaptation, which is considered to have the strongest antislavery message of the many adaptations and to be the most faithful to Stowe's novel.