Journal articles on the topic 'Heroic structure'
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GUTOV, A. M. "THE EVOLUTION OF ARCHETYPAL STRUCTURE IN ADYGHE HISTORICAL-HEROIC EPIC." Kavkazologiya, no. 3 (2019): 240–49. http://dx.doi.org/10.31143/2542-212x-2019-3-240-249.
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Lutkehaus, Nancy Christine. "HIERARCHY AND ‘HEROIC SOCIETY‘: MANAM VARIATIONS IN SEPIK SOCIAL STRUCTURE." Oceania 60, no. 3 (March 1990): 179–97. http://dx.doi.org/10.1002/j.1834-4461.1990.tb02354.x.
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M, Sankar. "Silapathikaram can be considered as a Heroic age Epic." International Research Journal of Tamil 4, no. 2 (April 26, 2022): 115–27. http://dx.doi.org/10.34256/irjt22215.
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The Age of Heroic is one of the most significant in the history of mankind. This is because during this period the gods and angels appeared as mythologists and performed heroic deeds. This can be traced back to the ancient literature of Greek and Roman. The period in which the Ramayana and the Mahabharata appeared in India is called the Heroic period. Next to this is the Heroic age of Tamil Nadu. Originating during this period were the Sangam poems, also Called as Cāṉṟōr poems. The first epic of Silappatikaram, which appeared at the end of the Heroic period of Tamil Nadu or the time when the empires appeared, refers to the history of Kannaki who appeared on earth and later became a deity. Elango has created this epic by prioritizing femininity in order to prioritize all the works that appeared during the heroic periods of Greek and Roman. In this epic the characterization, the course of the story, the structure of the story are essential. These support the biosphere of the primary mantras (Kannaki, Kovalan, Madhavi) and the development of the show. Is it possible to consider the epic Silappatikaram, which is considered to be from the 2nd century AD, as a heroic epic? This article is written to address the issue. In this article the elements of the heroic age are discussed in connection with the Silappatikaram.
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Hansen, Christiane. "Ecothriller heroics: Affect and spectatorship in fictions of climate change." Journal of European Popular Culture 11, no. 2 (October 1, 2020): 145–56. http://dx.doi.org/10.1386/jepc_00023_1.
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This article examines the representation of climate change and heroic agency in recent European and North American ecothrillers. Through the use of four literary case studies, it shows how heroic figurations support an idea of climate change as a distinct disastrous event. Moreover, the heroic is shown to bring out images of a threatening other, usually in the shape of a distinct villain, who gives shape to forms of diffuse, indirect agencies as they are associated with anthropogenic climate change. In addition, the ideal positions of hero and perpetrator are articulated to larger normative and ideological frameworks, which the heroic figuration frames as irreconcilable. In this regard, markedly similar structures can be observed in novels that seek to present climate change as a genuine threat, such as L. A. Larkin’s Thirst and texts that follow a climate-sceptic agenda, such as Michael Crichton’s State of Fear. However, this article also shows how the hero’s position towards the sublime, as well as audio-visual tropes of destruction, can entail a tentative reformulation of the recipient, as in Bernard Besson’s The Greenland Breach. Finally, this article turns to Liz Jensen’s The Rapture, which is shown to follow a plot-driven, suspenseful thriller structure but withdraws heroic or prophetic authority over the disaster it represents and, in doing so, brings out the epistemological and ethical instability of the spectator’s position.
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Illana, Mary Ann Alcantara. "The Heroic Archetypes and the Reinvention of Aswang Character in Segundo Matias’ Moymoy Lulumboy Ang Batang Aswang." OKARA: Jurnal Bahasa dan Sastra 15, no. 1 (May 31, 2021): 119–42. http://dx.doi.org/10.19105/ojbs.v15i1.3828.
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Marginalized and queer heroes are being recognized in the resurgence of various types of characters in contemporary hero narratives. In challenging the normative conventions, there are heroic values in the ambiguous presentation of their character which are revived and valorized based on the heroic archetypes presented in the story. Given this, how do we reconcile the normative conventions of hero attributed to queer and deviant representation of his character and heroic deeds? This paper analyzes the contemporary work of Segundo Matias' Moymoy Lulumboy: Ang Batang Aswang. Patterned from Joseph Campbell's normative structure of hero's journey, which models the representation of various nature of character heroes and their established heroic archetypes, this study revealed that a category of heroic deviant exists in portraying character hero in the revival of Aswang lore in contemporary urban legend. Furthermore, this paper affirms that the resurrection of the archetypal pattern and the marginal presentation of the hero and his journey present a re-inscripted image of Aswang from a "rigidly static" to a semi-heroic ascension.
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Eisenhaber, Frank. "Unix interfaces, Kleisli, bucandin structure, etc. — The heroic beginning of bioinformatics in Singapore." Journal of Bioinformatics and Computational Biology 12, no. 03 (June 2014): 1471002. http://dx.doi.org/10.1142/s0219720014710024.
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Remarkably, Singapore as one of today's hotspots for bioinformatics and computational biology research appeared de novo out of pioneering efforts of engaged local individuals in the early 90-s that, supported with increasing public funds from 1996 on, morphed into the present vibrant research community. This article brings to mind the pioneers, their first successes and early institutional developments.
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Kuzmina, Aitalina Akhmetovna. "Other space in the Yakut heroic epic poetry (based on Olonkho of Vilyuysky tradition)." Филология: научные исследования, no. 11 (November 2021): 9–18. http://dx.doi.org/10.7256/2454-0749.2021.11.36783.
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The subject of this research is the semantics, structure and plotline of other space in the Yakut heroic epic poetry. The object is the texts of the Yakut heroic epic poetry, namely Olonkho of Vilyuysky tradition. The goal lies in comprehensive analysis of the category of other space in the Yakut heroic epic poetry, particularly Olonkho of Vilyuysky tradition. The article employs the systemic analysis of Olonkho poetics, structural-semantic analysis, and comparative method. Special attention is given to construction of mythopoetic model of the world and correlation between space and plot of the epic poem. The acquired results can be implemented in folklore studies. The novelty of this research consists in the analysis of other space in Olonkho from the perspective of its semantics, structure, and narrative role. This article is first to describe the peculiarities of other space in the texts of Vilyuysky epic tradition. It is determined that other space in the Yakut heroic epic poetry Olonkho is depicted in form of the Lower and Upper worlds, “foreign country” in the Middle world, intermediate zones that hold an important place within the epic worldview and course of events in the plot of Olonkho. The author notes that the texts of Vilyuysky Olonkho preserve the traditional techniques depicting the three worlds; and the difference lies in emergence of the image of shaman dwelling in the intermediate zone, prevalence of the entry into the Lower world without demarcation of its boundaries.
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Baitanasova, Karlygash, Ayauzhan Kasen, and Ayymgul Seiputanova. "THE FUNCTION OF “MIRACULOUS BIRTH” MOTIF IN KAZAKH HEROIC TALES." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 4 (December 15, 2022): 90–101. http://dx.doi.org/10.55808/1999-4214.2022-4.09.
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Each genre of folklore grows together with the public concepts and logic. Thoughts and knowledge in the folklore unite common phenomena in the system of people’s artistic thinking. In the course of this process a national identity, life principles, and a common system of thinking appear in the folklore of each nation. Fairy tale is the genre that retains these features. Fairy tales have the ability to help people’s endless dreams and imaginations, and lead them with hope. The miraculous phenomena in fairy tales, created by the imagination, are ordinary life forms that people dreamed of. There is a certain motif that underlay the events from people’s imagination. These motifs are constantly repeated and become the basis for the emergence of new works. This article considers the special birth of the main character as one of the constant motifs of fairy tales. The symbolic meaning of the motifs as “Miracle of birth”, “Rapid growth”, “Miracle helpers” in heroic tales are analyzed. It is emphasized that these motifs are the main driving force of the storyline in heroic tales. The permanent picture of mythical knowledge, mythical motifs and images in the structure of heroic fairy tales and the relationship of motifs are considered. As a result of the analysis of storylines and mythical motifs in heroic tales, preserved in the memory of mankind since ancient times, some important conclusions have been drawn.
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Semenets-Orlova, Inna. "The Impact of Myth Consciousness on the Formation of the National Political and Cultural Space: “Ukraine is not Russia”." Journal of Geography, Politics and Society 13, S1 (November 24, 2022): 16–22. http://dx.doi.org/10.26881/jpgs.2022.s1.03.
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The articles researches the concept of political culture as a system of inherited political notions expressed in symbolic forms and generalizes the differences between the political culture of Ukrainians and Russians. It stresses that the cultural identity of Ukraine is established on one of its basic tendencies – penchant for archaization of all symbolic forms; it researches the place of the heroic political myth in this process; it analyzes sacral projections of the political in the myth through which the subject-and-object order of the Ukrainian politics world is explained. Thus, the pattern of the heroic monomyth (a structured ontological range of symbols) serves as a program of political reality (as a structured order of political objects). The symbols of the heroic monomyth have sacral significance because they present an idea of political order, stability, forecastability of politics (the latter is lacking in the crisis context of development) when there is unwillingness of a part of citizens to bear responsibility for prospects of future development of events in the country in the conditions of long-term uncertainty. The article researches peculiarities of the how the structure-image of the hero builds the constitution of political reality in Ukraine and Russia.
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Lee, Jung-Gon, Duk-Hwan Kim, and Dae-Yul Jeong. "A Study on the Structure of Heroic Narratives in the Tale of Taoist Wizard." Asia-pacific Journal of Convergent Research Interchange 6, no. 10 (October 31, 2020): 1–19. http://dx.doi.org/10.47116/apjcri.2020.10.01.
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Panova, Elena P., and Natalya R. Saenko. "HEROIC MYTH IN THE WORKS OF SOVIET CHILDREN’S WRITERS." Russian Studies in Culture and Society 6, no. 4 (December 29, 2022): 15–34. http://dx.doi.org/10.12731/2576-9782-2022-4-15-34.
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Purpose. The purpose of this study is to identify and further analyze the phenomenology and content-plot side of Soviet neomythology, embodying the archetype of the hero-victim in the textual materials of artistic poetry and prose for children, as well as the means used for this embodiment.
Methodology. The method or methodology of doing the work. In the course of the work, the method of text analysis, content analysis, cross-factor analysis of the material of a number of sources was used according to parameters that have their own content, significant for achieving the goal stated in the study.
Results. The article analyzes the structure and pragmatics of the ideologically oriented Soviet neo-myth. Particular attention was paid to the analysis of such categories as the sacralization and instrumentalization of the created mythological material, the inherent characterological features and features of the created image, which make it possible to characterize the characters created by different children’s writers as fighters, as heroes, as sacred victims. According to the results of the study, the features of the heroic character of childhood, his sacrifice and immortality, formed by the myth in the mass public perception, are identified and analyzed. In conclusion, a number of pragmatic aspects of operating the cultural image of a child-hero and a child-victim from the side of ideology, patriotic education with the help of emotions and moods of society are considered.
Practical implications. The results of the study can be applied in the field of cultural studies, philosophy of culture, philosophy of literature to analyze effective and ineffective in the field of educating an active citizen and patriot through artistic techniques. The results of the analysis are acutely relevant, since modern Russian culture needs effective tools for civic and patriotic education.
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Kongyratbay, Т., and К. Kongyratbay. "Thinkers of the Past on the Cognitive Essence of the Heroic Epic." Iasaýı ýnıversıtetіnіń habarshysy 119, no. 1 (March 30, 2021): 183–97. http://dx.doi.org/10.47526/habarshy.vil.392.
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The article analyzes the opinions of thinkers of the past about the forms of artistic and historical thinking. This problem is considered in close connection with the definition of the cognitive essence of the heroic epic. Folklore studies of the twentieth century, fascinated by the artistic and poetic structure of the epic, did not deal much with historical and ethnic features. The problem rested on the correlation between the scientific postulates of the former historical school and the methodological guidelines of the comparative typological method in folklore studies. Folklore researchers have addressed this problem before. However, the study of the heroic epic in the framework of literary and poetic analysis did not lead to significant results. Almost half a century of folklore history is characterized by trampling on the same level of scientific knowledge. The article notes that the heroic epic is an empirical source from which you can draw very valuable information of a cognitive nature. It is subjected to an analytical study of the thoughts and judgments of ancient encyclopedic scientists about the primacy of matter and the secondary nature of ideas. A certain place is given to the conclusions of the Russian thinkers of the XIX century, who unanimously repeated the primacy of matter. The research that ignores the historical principle of research in folklore studies is subjected to an analytical review. Based on the above, it is concluded that the main value of the heroic epic is not only in the artistic and poetic system, in historicism, but also in the informative and cognitive essence.
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Olesiejko, Jacek. "The Economy of Property and Prosperity in Daniel of the Old English Junius Manuscript: A View on the Poem’s Syncretism." Anglica. An International Journal of English Studies, no. 29/1 (2020): 5–27. http://dx.doi.org/10.7311/0860-5734.29.1.01.
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The heroic economy of treasure subtends both the treasure plundered from the temple in Jerusalem by Nebuchadnezzar and the political structure of Babylon in the Old English Daniel. The golden idol that Nebuchadnezzar erects is a sign of the worldly glory and wealth that generates the flow of goods in the heroic economy of exchange of honour. The aim of the paper is to argue that the Daniel poet makes a contrast between the secular flow of treasure, at the foundation of Nebuchadnezzar’s power, and the divine economy of grace, at the centre of the covenant between the Hebrews and God.
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Agatay, O. M. "A BOW AS A TRADITIONAL WEAPON IN THE HEROIC EPICS OF THE KAZAKHS." edu.e-history.kz 31, no. 3 (July 2022): 41–55. http://dx.doi.org/10.51943/2710-3994-2022-31-3-41-55.
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The article introduces information about heroic epics of the Kazakhs, containing facts about a ranged weapon – a bow of the nomads of the Great Steppe of the Middle Ages and New Age. Before this information was not an aim of special scientific research and was not translated into other languages. Based on a comprehensive analysis of folklore, artefacts and written sources, there was an attempt to find out the original names of the bows of the Turkic warriors of the Middle Ages and New Age as well as their construction features. The basic terms used in the heroic epics of the Kazakhs were identified and attributed to denote a ranged weapon of the nomads of the abovementioned period on the basis of the research of collected, systematized and analyzed facts. In addition, in particular, it was found out that in the Middle Ages and New Age, a ranged weapon of nomadic warriors of Kazakhstan and adjacent lands was differently named: jaq, jai, saadaq, sarja, buharja, adyrna. Here, we see, a name of a ranged weapon – a bow (jaq, jai) of the Turkic warriors known in the ancient times and early Middle Ages, changed and a few various names became applicable, largely as a result of metonymic transition, that is, a name of a separate part of the structure of the bow was applied to the whole item, which then entered the military vocabulary of the Kazakhs. Thus, for instance, the name limb – adyrna and baіenek made of bone, horns, and wood, featuring the basic functional structure of the bow, was applied to the common name of a traditional bow of the nomads. And known as a bow case of a bow – saadaq entered later military vocabulary of the Kazakhs to denote the bow. When comparing the description of a ranged weapon in the heroic epics of the Kazakhs with its genuine samples from archaeological monuments and traits of written sources, a high level of correlation between folklore and artefacts is noticeable.
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Agatay, O. M. "A BOW AS A TRADITIONAL WEAPON IN THE HEROIC EPICS OF THE KAZAKHS." edu.e-history.kz 31, no. 3 (October 20, 2022): 41–55. http://dx.doi.org/10.51943/2710-3994_2022_31_3_41-55.
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The article introducesinformation about heroic epics of the Kazakhs, containing facts about a ranged weapon – a bow of the nomads of the Great Steppe of the Middle Ages and New Age. Before this information was not an aim of special scientific research and was not translated into other languages. Based on a comprehensive analysis of folklore, artefacts and written sources, there was an attempt to find out the original names of the bows of the Turkic warriors of the Middle Ages and New Age as well as their construction features. The basic terms used in the heroic epics of the Kazakhs were identified and attributed to denote a ranged weapon of the nomads of the abovementioned period on the basis of the research of collected, systematized and analyzed facts. In addition, in particular, it was found out that in the Middle Ages and New Age, a ranged weapon of nomadic warriors of Kazakhstan and adjacent lands was differently named: jaq, jai, saadaq, sarja, buharja, adyrna. Here, we see, a name of a ranged weapon – a bow (jaq, jai) of the Turkic warriors known in the ancient times and early Middle Ages, changed and a few various names became applicable, largely as a result of metonymic transition, that is, a name of a separate part of the structure of the bow was applied to the whole item, which then entered the military vocabulary of the Kazakhs. Thus, for instance, the name limb – adyrnaand baіenek made of bone, horns, and wood, featuring the basic functional structure of the bow, was applied to the history common name of a traditional bow of the nomads. And known as a bow case of a bow – saadaq entered later military vocabulary of the Kazakhs to denote the bow. When comparing the description of a ranged weapon in the heroic epics of the Kazakhs with its genuine samples from archaeological monuments and traits of written sources, a high level of correlation between folklore and artefacts is noticeable.
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Matyushina, Inna G. "THE REFUTATION OF THE CANONICAL STRUCTURE OF THE TYPE-SCENE IN OLD HIGH GERMAN HEROIC EPIC." Folklore: structure, typology, semiotics 2, no. 1 (2019): 104–37. http://dx.doi.org/10.28995/2658-5294-2019-1-104-137.
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Panoussi, Vassiliki. "Vergil's Ajax: Allusion, Tragedy, and Heroic Identity in the Aeneid." Classical Antiquity 21, no. 1 (April 1, 2002): 95–134. http://dx.doi.org/10.1525/ca.2002.21.1.95.
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This essay attempts a reevaluation of the use of Greek tragedy in Vergil's Aeneid, drawing on recent advances in the study of literary allusion and on current approaches to Greek drama which emphasize the importance of social context. I argue that extensive allusions to the figure of Ajax in the Aeneid serve as a subtext for the construction of the personae of Dido and Turnus. The allusive presence of Ajax attests to the existence of a tragic register in the epic, which intersects with and complicates the multiple allusive registers within the poem. Moreover, I propose that a detailed examination of Vergil's manipulation of tragedy's articulation of socio-political and ideological problems may in turn illuminate the Aeneid as a national epic and its much-contested relationship with Augustan ideology. More specifically, I argue that issues of identity and moral action explored in Sophocles' Ajax are crucial in the cases of Dido and Turnus, who similarly find themselves in conflict with and unable to adapt to the new social and political structure of Aeneas' new order. Like Ajax, Dido and Turnus define themselves through constant reference to their relationship with their people. All three, however, engage in action which pits them against the interests of their communities and which results in their complete isolation. Unable to adjust their behavioral code to ensure their survival, Dido and Turnus embody a heroic ideal which, though laudable, can have no place in Aeneas' Roman future. Vergil thus mobilizes a tragic allusive register in order to illustrate the tension between the celebration of this ideal and the realization that social change has rendered it obsolete. At the same time, the loss of the ideals that Dido and Turnus represent necessitates the articulation of a comparable, if not superior, ethical code which Aeneas is called on to embody. Allusive evidence linking Aeneas to the tragic Ajax, however, seems to indicate Aeneas' failure to emerge as a superior moral force in the poem.
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Koryakina, A. F. "Analogies in Yakut Olonkho and Tuvan Epos: Plot-Compositional Structure, Motives (based on the Epics “Nyurgun Bootur the Swift” by G. K. Orosin and “Hunan-Kara” Changchi-Khoo Oorzhak)." Nauchnyi dialog, no. 5 (May 30, 2020): 303–19. http://dx.doi.org/10.24224/2227-1295-2020-5-303-319.
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The results of a comparative analysis of the texts of the Yakut and Tuvan epics in order to establish common features in the epic heritage of the Yakut and Tuvan peoples are presented in the article. The relevance of the study is due to the problem of searching for the genetic origins of the formation of the heroic epic in modern epiconception. The degree of knowledge of the problem, the style of performance of the epic in a comparative perspective are examined. Particular attention is paid to the analysis of the plot-compositional structure, plot-forming motifs. As a result of the study, data were revealed that testify to the undeniable occurrence of epic legends of the Yakut and Tuvan peoples at the interface of their historical and spiritual contacts in the Turkic-Mongolian world, about their common genetic origins. Analogies are found in the manner of performing the storytellers. The proximity of the plot-compositional structure was discovered: in both epic literary texts there are all elements of the plot composition, stable for the Turkic-Mongolian epics. It is established that in the studied works the themes of matchmaking of bogatyr-heroes and their heroic campaigns, battles with monsters in order to protect fellow tribesmen are in contact. Both epics contain ancient motifs: parents provide heroes with heroic armor and a horse; description of a horse-friend, heroism; matchmaking and marriage, etc.
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Itskovich, Galina, Elena Shopsha, and Liudmyla Fedosova. "USE OF THE HEROIC JOURNEY NARRATIVE IN THE DIAGNOSTIC INTERVIEW AND TREATMENT WITH FAMILIES OF CHILDREN WITH SPECIAL NEEDS." Wiadomości Lekarskie 74, no. 11 (2021): 2840–45. http://dx.doi.org/10.36740/wlek202111128.
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The aim: To explore and corroborate personal and family narratives within the framework of “heroic journey”, delineate function of the narrative in the diagnosis and treatment of families of children with special needs, and to describe the process of improving psychological well-being of these families. Materials and methods: The study material consisted of articles on the subject found in American and international databases (Springer, Thompson ISI’s Web of Science, Scopus and PsycINFO, Google Scholar), using keywords “family and child psychotherapy”, “heroic journey”, “differentially able”, “attachment”, “narrative”, “therapeutic storytelling”. Two case vignettes, parents of a) a special-needs adult and b) a pre-teen psychotherapeutic patient, illustrate application of the heroic journey narrative in psychotherapeutic treatment. Conclusions: Formation of the narrative identity is simultaneously the ends and the means: while a parent is encouraged to tell the story repeatedly over time, a new narrative identity emerges. Purpose, roles, patterns, and the structure of the storytelling process are outlined. Increased coherence of the family stories leads to strengthening attachment patterns. Using personal and family narratives for the purpose of diagnosis and treatment; incorporating and interpreting stories told in treatment can become a useful tool in the clinicians’ toolbox.
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Mironov, Arseny S. "The unique concept ofglory: Devaluation ofthevalue ofpersonal fame in the Russian folk epics." Literature at School, no. 5, 2020 (2020): 9–23. http://dx.doi.org/10.31862/0130-3414-2020-5-9-23.
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The article is dedicated to the concept of glory, which should be placed among the main concepts of the world’s folk epics. According to the author’s analysis (undertaken through the axiological, comparative-historical, and historical-genetic methods), glory – as rendered in Homer’s Iliad and Odyssey, The Mahābhārata, European and Oriental medieval epics, etc. – is most often related to the rumors about a concrete hero and emerges as a substitute of individual immortality or as a pledge of postmortem beatitude. Among nearly all known works of heroic poetry, only the Russian folk epics are fundamentally opposed to this interpretation: Bylinas don’t treat glory as a specific attribute belonging to this or that hero, but as a collective virtue of all Russian knights – the one intended to deter foreign rulers from their invasions of Russia and to protect, in this earthly world, both the divine law and suffering people. Accordingly, the article provides a comparison between different works of heroic folklore and Russian bylinas, which enables both to interpret more fully the axiological structure of the epic tradition as such (the notions of glory, honor, boasting, and rumor – the ones still insufficiently analyzed in scholarly literature and defined more precisely in the present paper), and to determine the principal originality of the Russian folk epics, their unique position among other oral songs of similar nature. In particular, a comparison between the heroic songs of Christian Europe and Russian bylinas allows the author to argue confidently that precisely the latter incarnated (in the most original and profound way, at different levels of their artistic structure, including plot, motives, and imagery) the values and the ideas of Christianity, its spiritual and moral potential.
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Lan, Yu, and Tsagan B. Seleeva. "Текстуализация эпических текстов и формирование функциональных глав: текстологический анализ песни о воскрешении богатырей в монгольском «Гэсэре»." Бюллетень Калмыцкого научного центра Российской академии наук 16, no. 4 (November 27, 2020): 200–212. http://dx.doi.org/10.22162/2587-6503-2020-4-16-200-212.
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The Mongolian “Geser” is an epic cycle consisting of many songs, which originally consisted of one or more chapters. In the process of forming the cycle, some chapters acquire structural and functional features that differ from traditional Mongolian epics, and these atypical features characterize the uniqueness of the process of formation and functioning of some chapters of the epic. One of these texts with atypical features in the structure, theme and plot is the chapter on the resurrection of the heroes of Gesar. In this article, on the basis of structural analysis, a comparative analysis of this chapter with the text of the Mongolian historical chronicle “Altan Tobchi” is given. It is assumed that the formation of an atypical structure of this chapter is focused on its unique function, that is, there is a transformation of the traditional functions of both the narrative and lyrical parts of this chapter. The narrative part has the discursive function of connecting other independent chapters and the logical function of connecting “Gesar” with the Mongolian heroic epic tradition, while the lyrical part reveals the independence and heroism of the plot, thereby allowing the simple plot to become an independent heroic epic chapter.
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Evgenii V., Bembeev, Piurbeev Grigorii Ts., Lidzhieva Liudmila A., and Mushaev Vladimir N. "The Peculiarities of the Semantic Structure of Lexemes Bärŋk and Anchn (Based on the Kalmyk Heroic Epic “Dzhangar”)." Journal of Siberian Federal University. Humanities & Social Sciences 12, no. 1 (January 2019): 32–46. http://dx.doi.org/10.17516/1997-1370-0378.
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Чугунекова, А. Н. "The use of verbs of movement in Khakas heroic tales." Вестник Северо-Восточного федерального университета имени М.К. Аммосова. Vestnik of North-Eastern Federal University. Серия "Эпосоведение. Epic studies", no. 4(24) (December 30, 2021): 35–43. http://dx.doi.org/10.25587/i5557-9603-6950-z.
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Статья посвящена выявлению глаголов движения в текстах хакасских героических сказаний. Данное исследование проведено на материале опубликованных текстов «Албынчы», «Алтын Арыг», записанных от популярного народного сказителя Хакасии С. П. Кадышева (1885–1997), и «Ай Хуучин» (сказитель П. В. Курбижеков). Актуальность исследования связана с возрастающим интересом к месту и роли пространственных идей в форме национальной лингвокультуры. Известно, что пространство и время как фундаментальные свойства бытия определяют специфику ментальности этнического коллектива, обусловливают уникальность временных и пространственных планов жизнедеятельности. В каждом языке существуют свои средства выражения и своя система способов выражения пространственных представлений. Одним из них являются глаголы движения. Целью статьи является выявление и описание глаголов движения, функционирующих в текстах героических сказаний хакасов. В задачи исследования входят: выявление глаголов движения, характерных только для текстов героических сказаний; определение семантики и грамматического значения этих глаголов. При решении поставленных задач были привлечены метод сплошной выборки примеров, предусматривающий подбор примеров для анализа и выписывание из текстов героических сказаний подряд всех встречающихся в нём примеров анализируемого типа; описательный метод для выявления глаголов движения и их последовательного описания с точки зрения их структуры и функционирования. Метод дистрибутивного анализа позволил выявить сочетаемостные особенности глаголов движения. Исследование проводилось в рамках антропоцентрической парадигмы знаний, естественной точкой отсчета которой является представление о человеке и о языке в человеке. В результате исследования выявлены и проанализированы глаголы движения, функционирующие в текстах героических сказаний хакасского языка; определены грамматические значения глагольной лексики в героических сказаниях хакасского языка; определены актуальные для языка героического эпоса глаголы со значением движения. Полученные результаты исследования могут найти применение при чтении лекционных курсов по хакасскому и другим тюркским языкам на филологических факультетах вузов, при составлении учебно-методических пособий, словарей, а также при сравнительно-типологических исследованиях. The article is devoted to the identification of verbs of movement in the texts of Khakas heroic legends. This study is based on the published texts Albynchy, Altyn Aryg, recorded from the popular epicteller of Khakasia S. P. Kadyshev (1885–1997) and Ai Huuchin (epicteller P. V. Kurbizhekov). The relevance of the research is related to the growing interest in the place and role of spatial ideas in the form of national linguistic culture. It is known that space and time as fundamental properties of being determine the specifics of the mentality of an ethnic group, determine the uniqueness of the time and spatial plans of life. Each language has its own means of expression and its own system of ways of expressing spatial representations. One of them is the verbs of movement. The purpose of the article is to identify and describe the verbs of movement that function in the texts of the heroic legends of the Khakas. The tasks of the research include: identification of verbs of movement that are characteristic only for the texts of heroic tales; determining the semantics and grammatical meaning of these verbs. In solving the tasks set, the method of continuous sampling of examples was recognized (providing for the selection of examples for analysis and writing out from the texts of heroic tales in a row all the examples of the analyzed type found in it), descriptive (for identifying verbs of movement and their consistent description in terms of their structure and functioning) method. The method of distributive analysis made it possible to identify combinable features of verbs of movement. The study was conducted within the framework of the anthropocentric paradigm of knowledge, the natural starting point of which is the idea of a person and of a language in a person. As a result of the research, the verbs of movement functioning in the texts of the Khakas heroic tales were identified and analyzed; the grammatical meanings of the verbal vocabulary in the heroic tales of the Khakas language were determined; the verbs with the meaning of movement that are relevant for the language of the heroic epic were determined. The results of the study can be used in the reading of lecture courses on the Khakas and other Turkic languages at the philological faculties of universities, in the preparation of teaching aids, dictionaries, as well as in comparative typological studies.
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Danilova, Anna Nikolaevna. "V. D. Atlasov as the anchor of the Yakut heroic epic tales Olonkho." Litera, no. 12 (December 2020): 101–9. http://dx.doi.org/10.25136/2409-8698.2020.12.34684.
Full textAbstract:
The study of folklore heritage, along with the analysis of the collecting activity of individual local history experts and enthusiasts, is of genuine interest in the folklore studies. One of such people was Vladimir Dmitrievich Atlasov, born in Ust-Aldansky District. The goal of this article consists in examination of some questions of collecting activity Of V. D. Atlasov based on the text structure of Olonkho, as well as in establishment of the record of Olonkho text “Kentestey Bege”. For achieving the set goal, the author applies descriptive, structural and comparative methods. Based on the published texts and archival materials, the article examines certain aspects of V. D. Atlasov's collecting activity for documentation of the Yakut heroic epic tales Olonkho. The novelty consists in the fact that this article is first to analyze the folkloristic work of V. D. Atlasov – enthusiast, collector of Olonkho, and textology of interpretation of the Yakut heroic epic tale “Kentestey Bege” by S. M. Neustroev. As a result of textological research of the manuscript, the author determines some peculiarities of the record of Olonkho. The presence of multiple revisions testifies that Neustroev was working hand to hand with the Olonkhosut (the storyteller, performer of Olonkho). The text was carefully vetted, and in some instances edited by the collector. The texts is written mostly in modern graphics, although the letters of the old Latin alphabet are used occasionally.
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Kuzmina, A. A. "Poetics of Path Chronotope in Yakut Heroic Epic (S.N. Karataev “Bogatyr Tong Saar”)." Nauchnyi dialog 11, no. 1 (January 28, 2022): 262–78. http://dx.doi.org/10.24224/2227-1295-2022-11-1-262-278.
Full textAbstract:
The article is devoted to the poetics of the path chronotope in the Yakut heroic epic. The relevance of the topic is due to the need for an in-depth study of the spatio-temporal organization of the path in the olonkho, in particular in the Vilyui epic tradition, to which the olonkho S.N. Karataev “Bogatyr Tong Saar” belongs. The novelty of the article lies in the fact that for the first time the poetics of the path chronotope in the Yakut epic is subjected to systemic analysis, and for the first time the peculiarities of the path chronotope in the Vilyui epic tradition are revealed. The author of the article comes to the conclusion that the chronotope of the path occupies the most important place not only in the chronotope of the olonkho, but in general in its plot-compositional organization. The structure of the path has been determined, consisting of three main parts: the departure of the hero on the path, the process of the path itself, the completion of the path (the return of the hero to his homeland), in which various plot motives are realized. Particular attention is paid to the plot-forming role of the path chronotope in the olonkho, its relationship with the system of characters, poetical and stylistic means. It has been established that the leading links of the poetics of the Yakut heroic epic have inextricable interconnections in solving the main ideological and aesthetic problems.
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Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islamic Social Sciences 35, no. 3 (July 1, 2018): 76–79. http://dx.doi.org/10.35632/ajiss.v35i3.483.
Full textAbstract:
In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience.
Gaby SemaanAssistant Professor of ArabicUniversity of Toledo
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Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islam and Society 35, no. 3 (July 1, 2018): 76–79. http://dx.doi.org/10.35632/ajis.v35i3.483.
Full textAbstract:
In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience.
Gaby SemaanAssistant Professor of ArabicUniversity of Toledo
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S, Poongodi. "Agriculture in the social structure of Palanthamil." International Research Journal of Tamil 4, no. 2 (February 5, 2022): 9–20. http://dx.doi.org/10.34256/irjt2222.
Full textAbstract:
Sangam Literatures are the source of insights into the culture and milestones in the development of human life. In proverbial songs based on love and heroism, they compiled the best of the remaining songs that had been destroyed by the ocean, termite, and the flood, and named it Sangam literature. Sangam Tamilians lived a life of luxury by setting up separate departments of five lands Kurinji, Mullai, Marutham, Neithal and Palai lands and setting up separate flats for their inner life and heroic outer life. People who lived in each land had set up businesses and adapted their lives to suit that land. People in every land, they joined together and made their businesses better. Agriculture was the main occupation among them. In each land they adapted their way of life according to the social environment of the land. Food is the basic need for human life. They used new agriculture techniques to cultivate the land and increased productivity to fulfill their needs. They had two types of agriculture lands, wet and dry lands. Dry land agriculture was featured in Kurinji and Mullai. Wetland agriculture featured in Marutham and Neithal. Its significance is expressed in the Sangam literature songs.
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Choi, Jung-Eun. "Archetype and Adaptation of the Heroic Narrative Structure in NHK Drama Yoshitune -Focused on Hero's Journey by Joseph Campbell." Journal of the Korea Contents Association 12, no. 2 (February 28, 2012): 163–72. http://dx.doi.org/10.5392/jkca.2012.12.02.163.
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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.
Full textAbstract:
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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Vooijs, Marcel W., Johannes W. J. Beentjes, and Tom H. A. van der Voort. "Dimensional Structure of the Imaginal Processes Inventory for Children (IPI-C)." Imagination, Cognition and Personality 12, no. 1 (September 1992): 45–53. http://dx.doi.org/10.2190/wwrx-j2d1-84pe-ddkg.
Full textAbstract:
The dimensional structure of Dutch versions of the Imaginal Processes Inventory for Children (IPI-C) was investigated with children in Grades 3–6. According to Study 1, the reliabilities of the nine subscales distinguished within the American instrument were not satisfactory. A principal components analysis (PCA) performed on the subscales resulted in three factors that paralleled the three fantasy styles found previously in a similar analysis of the American IPI-C. However, two of the three factors found were defined by subscales that had a number of items in common. When these shared items were removed from the subscales, a different three-factor solution emerged. The three fantasy styles found in the latter analysis were encountered again in Study 2, which was conducted with an adjusted version of the IPI-C. Three reliable fantasy scales were constructed, for positive-intense, heroic-aggressive, and dysphoric fantasy. The results of the two studies justify further research into the validity of these three fantasy scales.
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R, Savitha, and Revathi P. "Madurai Maruthan Ilanaganar and the Nadukal Culture of the Sangam Age." International Research Journal of Tamil 4, no. 3 (July 5, 2022): 91–95. http://dx.doi.org/10.34256/irjt22313.
Full textAbstract:
Ancient poets sang in many songs about the mediators taken for warriors in Sangam literature. Madurai Maruthan Ilanaganar, a contemporary of the Pandya king Nanmaran Valuthi, mentions his rare ideas about planting in six songs. This article explores the structure, developmental status of the mediators, the engraving, the imprinting of the human figure, the character of the engraver and the disintegration of the figure, the heroic deed of the opposing hero, and the implantation of messages about his heroism with the implant culture.
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Collinson, Margaret. "So what is new about leadership-as-practice?" Leadership 14, no. 3 (March 2, 2018): 384–90. http://dx.doi.org/10.1177/1742715018759629.
Full textAbstract:
This paper returns to the original focus of my earlier 'Leading Questions' article (Collinson, 2017) which questioned Joe Raelin’s (excessive) claims that LAP is a distinct ‘movement’, particularly new and supercedes post-heroic perspectives and is more critical than critical leadership studies. Arguing that Raelin's claims overstate the value of LAP, this rejoinder draws on Giddens’ structuration theory to illustrate my points about structure, practice and resistance in relation to the foregoing responses from Leadership As Practice (LAP) contributors (Raelin et al, 2018).
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Noviana, Fajria. "Representasi Hero’s Journey Pada Tokoh Chihiro Dalam Anime Spirited Away Karya Miyazaki Hayao." IZUMI 8, no. 1 (May 31, 2019): 52. http://dx.doi.org/10.14710/izumi.8.1.52-64.
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(Title: Representation of Hero’s Journey on Main Character Chihiro in Hayao Miyazaki’s Spirited Away Anime) This paper is the result of a qualitative descriptive type of literature study. The purpose of this study was to reveal the heroic journey process of main character of Spirited Away anime named Chihiro, based on the Hero’s Journey theory proposed by Vogler. Data about Chihiro's heroic journey are obtained from anime with note taking techniques. The method used in the analysis is the method of content analysis based on the theory of Hero's Journey. From the results of the analysis, it can be seen that the main character Chihiro has undergone a total of the twelve stages of the hero’s journey. Chihiro's adventure has succeeded in changing her personality which was initially timid, spoiled, and whiny to be brave, independent, calm and confident, and full of compassion. Chihiro's heroic journey proves the true definition of a hero according to Vogler, while also proving that to win a fight does not always use physical strength. There are times when thinking intelligence and emotional intelligence are much more needed. In addition, this anime also features a lot of kamisama which was once believed by the Japanese. Miyazaki might want to remind again about the existence of Japanese gods by displaying them in this anime, either those actually found in Japanese mythology or Miyazaki's own creations. Thus, the story of Spirited Away which has a mythical structure as stated by Vogler becomes much more alive and interesting.
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Ilchenko, Elena Valentinovna. "University In The Second World War Of 1941-1945 And After." Moscow University Pedagogical Education Bulletin, no. 2 (June 29, 2012): 70–95. http://dx.doi.org/10.51314/2073-2635-2012-2-70-95.
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The article presents the structure of the Moscow University, research directions and the main university activities carried in the late 1930s - early 1940s. Detailed description of such events at the beginning of the war, as the formation of 8th Division of Krasnopresnenskaya national militia, fighting under Yelnya, the heroic history of the 46th Guards Taman Aviation Regiment, the events of evacuation and re-evacuation of Moscow University. Particular interest are the scientific studies conducted by the members of MSU in wartime and postwar years.
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Olesiejko, Jacek. "TREASURE AND SPIRITUAL EXILE IN OLD ENGLISH JULIANA: HEROIC DICTION AND ALLEGORY OF READING IN CYNEWULF’S ART OF ADAPTATION." Studia Anglica Posnaniensia 48, no. 2-3 (December 1, 2013): 55–70. http://dx.doi.org/10.2478/stap-2013-0007.
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ABSTRACT The present article studies Cynewulf’s creative manipulation of heroic style in his hagiographic poem Juliana written around the 9th century A.D. The four poems now attributed to Cynewulf, on the strength of his runic autographs appended to each, Christ II, Elene, The Fates of the Apostles, and Juliana are written in the Anglo-Saxon tradition of heroic alliterative verse that Anglo- Saxons had inherited from their continental Germanic ancestors. In Juliana, the theme of treasure and exile reinforces the allegorical structure of Cynewulf’s poetic creation. In such poems like Beowulf and Seafarer treasure signifies the stability of bonds between people and tribes. The exchange of treasure and ritualistic treasure-giving confirms bonds between kings and their subjects. In Juliana, however, treasure is identified with heathen culture and idolatry. The traditional imagery of treasure, so central to Old English poetic lore, is inverted in the poem, as wealth and gold embody vice and corruption. The rejection of treasure and renunciation of kinship bonds indicate piety and chastity. Also, while in other Old English secular poems exile is cast in terms of deprivation of human company and material values, in Juliana the possession of and preoccupation with treasure indicates spiritual exile and damnation. This article argues that the inverted representations of treasure and exile in the poem lend additional strength to its allegorical elements and sharpen the contrast between secular world and Juliana, who is an allegorical representation of the Church.
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Кузьмина, А. А. "Contribution of Nikolay Emelyanov to the studying of motifs of the Yakut heroic epic." Эпосоведение, no. 3(23) (October 27, 2021): 67–75. http://dx.doi.org/10.25587/x5715-0528-3986-o.
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Статья посвящена оценке вклада якутского фольклориста, доктора филологических наукН. В. Емельянова в исследование сюжетики и мотивики героического эпоса олонхо. Актуальность иссле-дования заключается в том, что систематизация сюжетов и мотивов якутского героического эпоса, начатаяН. В. Емельяновым, представляет собой фундаментальную научную работу, требующую должной оцен-ки и продолжения, углубления исследований по этой теме. Теория мотива в фольклористике до сих порнеоднозначна, и определение позиции якутских исследователей по этой проблеме также представляетсяактуальным. Цель статьи – оценка вклада Н. В. Емельянова в выявление и систематизацию мотивов якут-ского героического эпоса олонхо. Использованы методы структурного, сравнительно-типологическогоанализа. Выявлено, что в фольклористике большое влияние оказали теоретические подходы А. Н. Весе-ловского, В. Я. Проппа, Б. Н. Путилова, Е. М. Мелетинского, С. Ю. Неклюдова по мотиву, которые по-влияли и на научные труды Н. В. Емельянова. В результате многолетней, кропотливой работы на основеархивных материалов исследователем была проведена систематизация олонхо по сюжетно-тематиче-ским группам: о заселении Среднего мира племенами ураангхай саха, о родоначальниках ураангхай саха,о защитниках племени айыы аймага. По Н. В. Емельянову, эти группы представляют собой эволюцион-ное развитие сюжетов олонхо. Обнаружены типологические сходства мотивов олонхо и историческихпреданий о заселении первопредков якутов долины реки Лена. Отмечена устойчивость композиционнойструктуры сюжета якутского героического эпоса, для которой характерны определенные сюжетные моти-вы. Установлено, что Н. В. Емельянов рассматривал мотив как составляющую часть, компонент сюжетаи выделил 139 мотивов, которые он распределил на несколько групп и видов: основные, подчиненные,специфичные, эпизодические мотивы – по значению в сюжете; эпические и сказочные мотивы – по ге-незису; архаические, христианские и социальные – по напластованию. Труды Н. В. Емельянова оказалибольшое влияние на последующие исследования по сюжетике и мотивике якутского героического эпоса.В перспективе следует изучить рецепцию идей Н. В. Емельянова в трудах современных эпосоведов. The article is devoted to the assessment of the contribution of N. V. Emelyanov, a Yakut folklorist,Doctor of Philology, in the study of the plot and motifs of the heroic epic olonkho. The relevance of the studylies in the fact that the systematization of plots and motifs of the Yakut heroic epic, begun by N. V. Emelyanov,is a fundamental scholarly work that requires proper assessment and continuation, deepening of research on thistopic. The theory of motif in folklore is still ambiguous, and the determination of the position of Yakut researcherson this issue is also relevant. The purpose of the article was to evaluate the contribution of N. V. Emelyanov tothe identification and systematization of the motifs of the Yakut heroic epic olonkho. The methods of structural,comparative typological analysis were used. It was revealed that the theoretical approaches of A. N. Veselovsky,V. Ya. Propp, B. N. Putilov, E. M. Meletinsky, S. Yu. Neklyudov had a great influence in folklore based on themotif. Their ideas also influenced the research works of N. V. Emelyanov. As a result of many years of painstakingwork on the basis of archival materials, the olonkho was systematized according to plot and thematic groups:about the settlement of the Middle World by the Uraanghai Sakha tribes; about the ancestors of the UraanghaiSakha; about the defenders of the Aiyy Aimaga tribe. According to N. V. Emelyanov, these groups represent theevolutionary development of olonkho plots. Typological similarities between the motifs of olonkho and historicallegends about the settlement of the first ancestors of the Yakuts in the Lena River valley were found. The stabilityof the compositional structure of the plot of the Yakut heroic epic, which is characterized by certain plot motifs,was noted. It was established that N. V. Emelyanov considered the motif as a constituent part, a component ofthe plot and identified 139 motifs, which he divided into several groups and types: main, subordinate, specific,episodic motifs – according to their meaning in the plot; epic and fabulous motifs – by genesis; archaic, Christianand social – by strata. The works of N. V. Emelyanov had a great influence on subsequent research on the plot andmotifs of the Yakut heroic epic. In the future, research should be carried out on the reception of N. V. Emelyanov’sideas in the works of modern epic scholars.
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Freese, John. "The Riddle of Technology and Social Education." Citizenship, Social and Economics Education 2, no. 1 (March 1997): 23–32. http://dx.doi.org/10.2304/csee.1997.2.1.23.
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Heroic stories, legends, and myths have existed, and indeed exist to this very day, in diverse civilisations and within multitudes of cultures. These heroic stories, hereafter referred to as myths, are historically important. People have used the basic elements of myth to structure social interactions, to model civic expectations, and to provide cultural unity. A key element within such myths has been the riddle. For millennia riddles have provided a creative mechanism in which to entertain, while at the same time, and perhaps more importantly, to educate. While numerous myths regarding education currently exist, and vary tremendously from one culture to another, in many ways, regardless of geography or society, very real riddles that transcend culture lie before educators of the very young, particularly social educators of the very young. The purpose of this article is to question, and begin to consider, the role technology should play within social education. To what extent should technology be incorporated within social education? Is technology a neutral concept, in and of itself, or does technology, by its very nature, so impact any society and educational process that it inherently influences social constructs? This article seeks to examine the riddle of technology and social education.
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Kuzmina, E. N. "Narrator and Epic Tradition: Uligers of Bura Barnakov." Nauchnyi dialog, no. 6 (June 29, 2020): 283–301. http://dx.doi.org/10.24224/2227-1295-2020-6-283-301.
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The article is devoted to the study of the heroic tales of the Buryat-Uligers, performed by B. Barnakov. Particular attention is paid to the repertory of this storyteller. The question of the preservation of the plot structure of works and storytelling memory in the conditions of the extinction of the epic tradition, when the epic environment and regular performance have already disappeared, is considered. The results of a comparative analysis of the plots of legends and their poetics are presented in the article. The relevance and novelty of the study is due to the fact that B. Barnakov’s legends have not yet entered the research field and have not become the subject of special study. In addition, the inclusion of one of the texts for publication in the series “Monuments of Folklore of the Peoples of Siberia and the Far East” makes a comprehensive study of the creative heritage of the uligersha relevant. The author pays special attention to stereotypes in these legends, highlighting intertextual and situational “common places”. The conclusion is made that the preservation of the narrative memory and the fullness of the repertory of the uligersha in the absence of a natural epic environment indicates the inertial stability of the epic tradition, due to the sacred nature of the heroic epos.
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Zelykovsky, Alexey. "Structure, Properties and Functions of Political Myth." Logos et Praxis, no. 3 (December 2019): 18–24. http://dx.doi.org/10.15688/lp.jvolsu.2019.3.2.
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The paper reveals the structure, properties and main functions of modern political myth, in addition, it analyzes the relationship between modern and archaic myths. The basis of modern political myths is rationalized and expressed in symbolic form mythological archetype. Despite the fact that archaic mythology as an integral system of worldview is rationalized, desacralized and destroyed, mythological archetypes retain their social significance. That is, political myths are the result of rationalization and symbolic interpretation of mythological archetypes. The article describes the main symbols-archetypes being invariably present in political discourse. For example, the hero archetype symbol is used to create heroic political myths. This group of myths is necessary for the formation of the image of a political leader. The representation of a political leader in accordance with the symbol-archetype of the hero significantly increases his capabilities and powers. The symbol-archetype of the Golden age is used to construct the image of the ideal social and political system. This archetype is especially actively exploited in various utopian and revolutionary projects. The symbol-archetype of the Great Mother, also actively used by modern mythology, forms ideas about their native land and country creating a sense of unity and cohesion. Since archetypal symbols retain their social significance, political myths, by reproducing them, perform important social functions. Shaping a special symbolic and semantic reality modern myths perform the main function – meaning making. Modern political myths carry out their functions by acting on the unconscious level, thereby causing certain emotional experiences and pushing the masses to the required actions. Thus, it can be concluded that political myths are an integral component of modern social and political practice.
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Soberon, Lennart. "Making enemies: A theoretical approach to antagonism and emotion in the contemporary American action film." International Journal of Media & Cultural Politics 17, no. 1 (March 1, 2021): 53–68. http://dx.doi.org/10.1386/macp_00038_1.
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Conflict and adversity form an essential component of many American action films. Not only are these spectacular blockbuster films often grafted on forms of contemporary geopolitical warfare, moreover, the violent deaths of the film’s villains arguably form one of the genre’s key pleasures. Utilizing Laclau and Mouffe’s concept of antagonism, this article deconstructs how within the action film, discursive articulations of enemyhood attempt to structure heroic violence as just and the lives of villains as ungrievable. The action films Lone Survivor (2015) and London Has Fallen (2017) will operate as case studies in elucidating how antagonistic frontiers between the hero self and the enemy other are cinematically drawn and strengthened.
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Borisov, Yu P. "Epic Formulas with a Matrix Construction: from Stability in Structure to Reference in Consciousness (Image of a Hero in the Yakut Olonkho)." Nauchnyi dialog 1, no. 10 (October 31, 2020): 213–30. http://dx.doi.org/10.24224/2227-1295-2020-10-213-230.
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The complex processes involved in the generation of the image of the hero by the narrator and the perception of this image by the epic audience are studied. A comprehensive analysis of epic formulas with a matrix construction is carried out in order to identify their reference models. The novelty of the work lies in the fact that for the first time the problems of human speech-thinking activity on the basis of the epic formulas of the Yakut olonkho are considered. As a result of the research, the author comes to the conclusion that when revealing the image of the hero, the narrator uses the parallels as a referent: property of the material / property of the image. It is noted that, in turn, the recipients decipher these constructions thanks to the background knowledge about the referent, in particular, about the property of the described material, which is mentally brought under the image of a hero. According to the author, the very structure of the organization of matrix structures does not allow the olonkhosut to completely replace the components that form the referent. Moreover, it is stated that the structure of the analyzed constructions ignores even gender differences in describing the image of heroic women. It is pointed out that the described processes, when the narrator recites certain analyzed epic formulas, occur in a very short time.
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Balakleets, Natalia. "Specifics and Actors of the Drone Warfare." Obshchestvennye nauki i sovremennost, no. 5 (2021): 116. http://dx.doi.org/10.31857/s086904990015733-8.
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The article reveals the features of modern military conflicts waged with the use of unmanned aerial vehicles (drones). Author traces the transformation of identity of fighters participating in high-tech wars. While the identity of combatants in conventional wars can be described with “killing- being killed” structure, post-heroic drone warfare leads to the formation of a split identity: on the one hand, a combatant reliably protected from mortal risks and threats, on the other hand, his defenseless victim. Author also studies the features of panoptic surveillance carried out with the drones. It is shown that modern war is entering the phase of unprecedented asymmetric confrontation, which cannot be overcome solely by technical means.
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Tupchienko-Kadyrova, L. G. "“One hundred days before the Great Victory. Belarus newspapers in 1945” – Belarus National Library's virtual project: The concept and implementation." Scientific and Technical Libraries, no. 4 (June 28, 2021): 37–52. http://dx.doi.org/10.33186/1027-3689-2021-4-37-52.
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The virtual project by Belarus National Library “One hundred days before the Great Victory. Belarus newspapers in 1945” reconstructs the daily chronicle of facts and events of winter-spring 1945 (war efforts, industry and agriculture rehabilitation in Belorussian Soviet Socialist Republic, experiences of libraries, research and educational organizations). The project is to demonstrate the information potential of the Library’s newspaper collection. The goals are described; statistical data are provided. The content and formal structure of selected news, structure of newspapers and books as a source, the project stages and implementation, the concept, production of newspapers digital copies, project promotion are discussed. The experience may be useful in other virtual projects. The full texts of the newspapers used in the project are accessible online and will be of interest to historians and everyone who would like to learn more about the heroic period and people who led to the Great Victory both in the front and behind the lines.
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Kuzmina, E. N., L. N. Arbachakova, and N. V. Shulbaeva. "Stereotypes in female images of the Siberian epos." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 23–35. http://dx.doi.org/10.17223/18137083/72/2.
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In the heroic legends of the peoples of Siberia, a special role is played by typical descriptions (stereotypes) that carry plot-forming and compositional functions. They reflect the syncretism of aesthetic and moral popular views in their content and the semantic guidelines that epic heroes are endowed with. As ethno-poetic constants, these stereotypes embodied the people’s value attitude to the world around them and, being transmitted for a long time, became ethnically differentiated cultural universals acquiring a normative status over time. In this study, an axiological approach has been applied to consider traditional portrait descriptions of warlike heroes and virgins, based on the comparative material from the epic of Buryats, Khakasses, and Shors. This approach allowed us to conclude that the similarity in imaging the characters of these peoples’ epic has a natural and genetic origin and that the descriptions show the syncretism of aesthetic and moral assessments. The descriptions used in the depiction of female characters are intertextual stereotypes taken from the general epic fund. The structure of these stereotypes comprises supporting phrases that tend to become epic formulas and function independently in the epic. Of the poetic and visual means, stereotypes steadily involve the comparisons and epithets easily correlated with the phenomena and objects of Nature and Space. The generally accepted statement that hyperbole is the main imaging device in the heroic epos is also confirmed in the female character description stereotypes.
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SEN, UDITI. "The Myths Refugees Live By: Memory and history in the making of Bengali refugee identity." Modern Asian Studies 48, no. 1 (May 9, 2013): 37–76. http://dx.doi.org/10.1017/s0026749x12000613.
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AbstractWithin the popular memory of the partition of India, the division of Bengal continues to evoke themes of political rupture, social tragedy, and nostalgia. The refugees or, more broadly speaking, Hindu migrants from East Bengal, are often the central agents of such narratives. This paper explores how the scholarship on East Bengali refugees portrays them either as hapless and passive victims of the regime of rehabilitation, which was designed to integrate refugees into the socio-economic fabric of India, or eulogizes them as heroic protagonists who successfully battled overwhelming adversity to wrest resettlement from a reluctant state. This split image of the Bengali refugee as both victim and victor obscures the complex nature of refugee agency. Through a case-study of the foundation and development of Bijoygarh colony, an illegal settlement of refugee-squatters on the outskirts of Calcutta, this paper will argue that refugee agency in post-partition West Bengal was inevitably moulded by social status and cultural capital. However, the collective memory of the establishment of squatters’ colonies systematically ignores the role of caste and class affiliations in fracturing the refugee experience. Instead, it retells the refugees’ quest for rehabilitation along the mythic trope of heroic and masculine struggle. This paper interrogates refugee reminiscences to illuminate their erasures and silences, delineating the mythic structure common to both popular and academic refugee histories and exploring its significance in constructing a specific cultural identity for Bengali refugees.
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Campos García Rojas, Axayácatl. "Pre-history and origins of the hero in El libro del cavallero Zifar and Amadís de Gaula." Medievalia, no. 50 (December 15, 2018): 79. http://dx.doi.org/10.19130/medievalia.50.2018.351.
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This article studies the concept of pre-historyin the heroic and chivalric development of the main characters in El libro del Cavallero Zifar and Amadís de Gaula. In the narrative of this romances, the pre-history refers to the account of significant events prior to the gestation of the hero, and to the previous history of his origins. The analysis of the works and its structure allows us to understand two types of pre-history: One built with remote, mythical and legendary elements, brought to the knight’s present life as memories given by his ancestors; and the other given to the reader as part of the narrative and plot of the work; this one results more direct and closer in time.
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Oh, Eun-Young. "A Study on the Variation of Heroic Narrative Structure of the Film “Asura : The City of Madness” : With Reference to Christopher Vogler’s “The Hero’s Journey”." Journal of the Korea Entertainment Industry Association 14, no. 3 (April 30, 2020): 181–90. http://dx.doi.org/10.21184/jkeia.2020.4.14.3.181.
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GALASSO, LUIGI. "OVID'S VARIATIONS ON ACHILLES IN THE METAMORPHOSES." Bulletin of the Institute of Classical Studies 47, no. 1 (December 1, 2004): 83–98. http://dx.doi.org/10.1111/j.2041-5370.2004.tb00243.x.
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Abstract In Ovid's Metamorphoses, Achilles' function, in a way, is to set up a common element for all the episodes of the Trojan War that are narrated or alluded to. He embodies in the most emblematic way the protagonist of epic poetry, a character that is a symbol for the heroic epos. The episodes which concern him are discussed, in order to demonstrate that the hasty and simplistic portrayal of him that has been given by many critics is inappropriate, and we should avoid defining, him as a merely negative figure. Actually, the structure of the narration should be perceived as a series of independent scenes. Unity is given by the constantly recurring theme of fame, of glory, which ultimately moulds life. Hence the absolutely decisive role of the poet who creates this reality.
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Hidajat, Robby, Suyono Suyono, Joko Sayono, Muhammad 'Afaf Hasyimy, Desy Ratna Syahputri, Syed Ahmad Iskandar, Iziq Eafifi Bin Ismail, and Norliza Bt Mohd Isa. "Tafsir Tari Zapin Arab dan Melayu dalam Masyarakat Melayu." Journal of Education, Humaniora and Social Sciences (JEHSS) 4, no. 2 (October 27, 2021): 1266–73. http://dx.doi.org/10.34007/jehss.v4i2.935.
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This article aims to describe and interpret the Zapin Arab and Zapin Malay dances. Zapin dance comes from Arabic and developed within the scope of the Malay community. At first the Zapin dance culture was brought by merchants from Gujarat to various regions in the archipelago in the XV century. Zapin dance has a heroic background, because the movement was originally a sense of uplifting the spirit of the companions of the prophet for war. The development of Zapin Arabic and Malay dances are both expressed in the form of performing arts. The problem in this research is focused on the structure of the Malay zapin dance. In order to approach this problem, the structuralism theory reference from Levi Strauss' model is used. Structural theory is applied to describe Malay society. The data were collected through statements and experiences of sources, observation, and document review, then analyzed descriptively qualitatively. Data analysis uses textual and contestual interpretations, namely interpreting denotative and connotative structures. This study concludes that, (1) the Arabic Zapin dance has Arabic cultural content, and (2) the Malay Zapin dance is an Islamic expression of Malay culture.