Siga este link para ver outros tipos de publicações sobre o tema: Fighter hero.
Artigos de revistas sobre o tema "Fighter hero"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Fighter hero".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Dhita, Aulia Novemy, Muhammad Reza Pahlevi, Khalidatun Nuzula, Rieca Nona Mutia, Salsabila Nofradatu e Tubagus Rizky Sunandar. "Eventful Man or Event Making Man? Para Tokoh Pejuang Lokal (1945-1950) Berdasarkan Toponimi Nama Jalan di Kota Palembang". Criksetra: Jurnal Pendidikan Sejarah 11, n.º 2 (17 de agosto de 2022): 128–42. http://dx.doi.org/10.36706/jc.v11i2.18385.
Texto completo da fonteResumo:
Abstrak: Sidney Hook mengklasifikasikan the hero in history menjadi dua kateogori yaitu eventful man dan event making man. Dengan menggunakan pendekatan tersebut, dapat mengklasifikasikan para tokoh pejuang (1945-1950) di Palembang yang ditelusuri berdasarkan toponimi nama jalan di Kota Palembang. Permasalahan dalam penelitian ini adalah bagaimana pengklasifikasian The hero in history-Sidney Hook terhadap para tokoh perjuang (1945-1950) di Palembang berdasarkan toponimi nama jalan di Palembang?. Penelitian ini bertujuan untuk menguraikan peran dan nilai-nilai perjuangan para tokoh pejuang (1945-1950) yang ditelusuri berdasarkan toponimi nama jalan di Kota Palembang. Penelitian ini menggunakan metode historis dalam pemecahan permasalahan dengan tahapan heuristik, kritik sumber, interpretasi dan historiografi. Berdasarkan hasil penelitian diperoleh bahwa hampi sebagian besar nama jalan di Palembang menggunakan nama para tokoh pejuang (1945-1950) di Palembang. Berdasarkan klasifikasi The hero on history-Sidney Hook, A.K. Gani (Jl. A.K. Gani) merupakan eventful man dan event making man. Adapun Abdul Rozak (Jl. Residen Abdul Rozak) dan M. Isa (Jl. dr. M. Isa) merupakan event making man. Selain ketiga tokoh pejuang tersebut, terdapat banyak tokoh pejuang (1945-1950) lainnya di Palembang.Kata Kunci: Sidney, Hook, Pejuang, Toponimi, PalembangEventful Man or Event Making Man? The Local Hero (1945-1950) Based on The Toponymy of Street Names in Palembang CityAbstract: Sidney Hook classifies the hero in history into two categories, namely eventful man and event making man. Using this approach, it can classify the fighter figures (1945-1950) in Palembang which are traced based on the toponymy of street names in Palembang City. The problem in this study is how to classify ‘the hero in history-Sidney Hook’ against the fighting figures (1945-1950) in Palembang based on the toponymy of street names in Palembang?. This study aims to describe the role and values of the struggle of the fighter figures (1945-1950) which are traced based on the toponymy of street names in Palembang City. This research uses historical methods in solving problems with heuristic stages, source criticism, interpretation and historiography. Based on the results of the study, it was obtained that most street names in Palembang use the names of fighter figures (1945-1950) in Palembang. Based on the classification of ‘the hero on history-Sidney Hook’, A.K. Gani (A.K. Gani Street) is an eventful man and an event making man. Abdul Rozak (Residen Abdul Rozak Street) and M. Isa (M. Isa Street) are making man events. In addition to these three fighter figures, there are many other fighter figures (1945-1950) in Palembang.Keyword: Sidney, Hook, Fighter, Toponym, Palembang.
2
Steiner, Peter. "Making a Czech Hero: Julius Fučík Through His Writings". Carl Beck Papers in Russian and East European Studies, n.º 1501 (1 de janeiro de 2000): 63. http://dx.doi.org/10.5195/cbp.2000.86.
Texto completo da fonteResumo:
Peter Steiner's convincing and meticulous analysis of Julius Fucik'sReportage brings to my mind memories that are not particularly enjoyable. For me and those of my contemporaries who shared my political convictions in the early 1950s, the Fucik cult-for he had become the object of an officially enforced cult-was highly unpleasant, if not downright disgusting. There were many anti-Nazi resistance heroes like him, people who, unlike him, had been ready to die if they could take one or two of the enemy with them. But-through no fault of Fucik's-the others, mostly nonCommunist, such as Czechoslovak fighter pilots in the Battle ofBritain or the Czech and Slovak parachutists who killed Heydrich, have been hushed up and eliminated from Czech history. Fortunately not forever. Yet the Communists treated Fucik not just like a primus inter pares, but-so it seemed to us-as the only anti-Nazi fighter worth talking about When I eventually became acquainted with his Reportage during my military service, under curious circumstances described below, the main elements of the book were quoted ad nauseam not only by politruks (officers in charge of political indoctrination) but also by kultprops (officers in charge of cultural activities). This in spite of the claim that Reportage is not a novel and ostensibly is not based on any formula.
3
Angelopoulos, Tasos. "Ο Καραγκιόζης πάει αντάρτης: ένα ανέκδοτο έργο της Έλλης Αλεξίου από το αρχείο του ΚΚΕ". Neograeca Bohemica, [1] (2022): [109]—120. http://dx.doi.org/10.5817/ngb2022-1-5.
Texto completo da fonteResumo:
This short Karagkiozis play, by the writer and Resistance fighter Elli Alexiou, was discovered in the archives of the Greek Communist Party. Karagkiozis, the Greek popular shadow theatre, was used during the Resistance (1941–1944) to promote the struggle against the German occupiers. Here, the main hero, who, for some researchers, symbolizes the low-class Greek citizen, abandons his eternal hunger to join the Resistance movement. But he never abandons his playfulness and jokes, even during the darkest times of the Greek history.
4
Clouet, Richard. "The Robin Hood legend and its cultural adaptation for the film industry : comparing literary sources with filmic representations". Journal of English Studies 3 (29 de maio de 2002): 37. http://dx.doi.org/10.18172/jes.68.
Texto completo da fonteResumo:
The legend of Robin Hood has been going strong for over 600 years. In that time, the English hero has been a medieval revolutionary, an earl in Renaissance drama, a Saxon freedom fighter in the XVIIIth and XIXth centuries or a courteous robber. Nowadays the hero is especially known as a famous romantic film star. This paper is about the way the legendary hero has been interpreted over the centuries and the medieval texts translated and adapted to suit the taste of the new audience. This capacity of adaptation in the Robin Hood legend has been demonstrated in the twentieth century through the various film adapatations of the now legitimate bandit, rightfully fighting against coercive and unjust authorities
5
Pimenova, M. V., e A. B. Bodrikov. "Military Concepts in the Russian Linguistic World Image (as in the case of " Warrior" Concept)". Bulletin of Kemerovo State University 21, n.º 4 (31 de dezembro de 2019): 1131–38. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1131-1138.
Texto completo da fonteResumo:
The article features the cognitive signs of the warrior concept. The main representation of the concept is stylistically marked. The word warrior is often used in elevated style. In Russian culture, the army has always been a special estate that protects the people and the Russian lands. The concept warrior proved to have some structural peculiarities. It includes seven motivating signs in the structure of the concept: (battle) cry, army, conquest, hunting, desire / aspiration, target, dedication. Only four of them transformed with time and moved into the category of conceptual signs: army → warrior / defender / one who is fighting; desire / aspiration + goal + dedication → purposeful (person). The second group of the structure is formed by twenty conceptual signs: military, liberator, fighter, (military) employee, soldier, (experienced) in military affairs, warrior / defender / the one who fights, hero, protector, brave man, winner, squire, courageous / valiant (man), role model / example for imitation, responsible (man), purposeful (person), giving a debt to the country, ready for self-sacrifice / accomplishing a feat, participant in the war, patriot / devotee / loyal (Motherland / Fatherland / people). These cognitive characteristics show a wide range of functional manifestations of modern representations of military occupation. The special group includes figurative stereotypical and gender signs, since a warrior has always been a male hero in Russian linguistic culture. The stereotypes of Russian linguistic culture are connected with the military past of our people, with its heroic epos, tales, and legends. Symbolic signs make up a separate group. The structure of the studied concept includes sixteen symbolic signs, which are also connected with the history of the Russian people with its numerous wars and victories: gods and saints, (fraternal) graves of warriors, war veterans, eternal flame, (military) rituals, (military) units, banner, George the Victorious, coat of arms, hero cities, icons, awards (orders and medals, weapons), monuments (obelisks and columns), songs and marches, field, status Hero-city, temple.
6
Lange, Anja. "The Beginning of Ukrman – a Fighter against the Evil and the Coronavirus". Galactica Media: Journal of Media Studies 2, n.º 3 (19 de outubro de 2020): 245–72. http://dx.doi.org/10.46539/gmd.v2i3.118.
Texto completo da fonteResumo:
Comics have a big task in Ukraine: Through them nation is built, historical events are discussed and identity is constructed. In 2018 Ukraine’s first superhero was introduced: UKRMAN. In the past, the Cossacks have been the heroes of Ukraine and were also portrayed in various comics. But in a time when the national integrity of Ukraine is tested through an armed conflict in the East, a new superhero is sorely needed. The comic combines the past (Communist era with the Chernobyl nuclear accident) and the present of Ukraine in a unique way. The article will show why the implementation of a new superhero (especially his look, his behavior and the background of the plot) is necessary for Ukrainian nation building. The symbols UKRMAN uses tend to unify the country by giving it a superhero everybody can identify him- or herself with. The message of the comic is that someone does not have to wear a cape to be depicted as a hero. The comic as the beginning of a project with videos and merchandise is the first one of that kind in Ukraine.
7
Zia Ghaznavi, Qamar Uddin, e Ghulam Shabir. "An Unnoticed Hero of Pakistan's Independence Movement; A Case of Biography Mr.Naseem Hijazi". Sustainable Business and Society in Emerging Economies 3, n.º 3 (30 de setembro de 2021): 209–15. http://dx.doi.org/10.26710/sbsee.v3i3.1909.
Texto completo da fonteResumo:
Purpose: In this article, Mr. Naseem Hijazi, a lesser-known hero of the Pakistan Movement, is highlighted. The primary purpose of this paper is to expose the hidden aspects of Mr. Naseem Hijazi's life. He was a well-known novelist and writer, as well as a freedom fighter. He was a member of the Pakistan Movement, but few people were aware of his involvement. He was a devoted Muslim and a firm believer in Islam. This research paper investigates and analyses the life of Naseem Hijazi to get a complete image of him.
Design/Methodology/Approach: This research demonstrates that delving into individual biographies might provide a contextualized view of Naseem Hijazi's life, allowing for a complete picture of him. This study employed a qualitative content analysis method to examine Naseem Hijazi's biography during the Independence Movement.
Findings: The finding shows that Naseem Hejazi had a passion for life that could enthrall any of his companions. During a radio interview, Syed Hashim Raza described his relationship with Naseem Hejazi, saying that the Muslim League was the only party working to establish Pakistan between 1940 and 1947. Naseem Hejazi was one of those who stood behind Quaid-e-Azam throughout those times and was respected by all. Naseem Hejazi, I believe, ran half of the pro-Muslim League propaganda effort in Baluchistan, while Mir Jaffer Khan Jamali ran the other half. Quetta's Pasban Fortnightly, June 15 (1939: 6).
Implications/Originality/Value: In such a situation, history books about the Pakistan Movement should be rewritten to acknowledge Naseem Hejazi's work as one of the nation's benefactors.”
8
MYONG, Soon-ok. "Collective memory of the Korean independence fighter Beom-do Hong in Soviet Korean Literature". Cultura 20, n.º 1 (1 de janeiro de 2023): 137–48. http://dx.doi.org/10.3726/cul012023.0011.
Texto completo da fonteResumo:
Abstract: The study reveals the political and ideological journey of Beom-do Hong, a Korean independence fighter and general as reflected in the historical novel of Soviet Korean writer Kim Se-il. Due to to the lack of historical records on Beom-do Hong, stories on his deeds before and after the Japan's annexation of Korea remained at the level of legends. In Korean society, his figure is seen within opposing positions and discourses; to some he is a national hero; to others a communist collaborator. This investigation of the historical novel as a medium for the transmission of shared memories based on the protagonist's battle diary and the recollections of his comrades will fill the gap in the historical memory and contribute to alleviating social political conflicts. Memorial heritage is closely linked to the intangible aspects of heritage, which is an essential driver of development.
9
Tough, Alistair. "Papers of Frederick R. Burnham (1861-1947) in the Hoover Institution Archives". History in Africa 12 (1985): 385–87. http://dx.doi.org/10.2307/3171734.
Texto completo da fonteResumo:
Indian fighter, explorer, scout, soldier and hero: during Frederick Burnham's life he filled all of these roles. Consequently a myth grew up around him cultivated by various “real-life adventure story books” in which he featured, and his own autobiography in which he stressed the more adventurous aspects of his life. The adventurous aspects of his career are, indeed, not without significance. For example, it was Burnham who killed the Mlimo during the Ndebele War of 1897 and this action may well have had an important effect on the morale of Ndebele fighters. Nevertheless, Burnham's career as a mineral prospector, mining engineer, and business manager is as significant as his more publicized activities. In some instances the latter were, in fact, a consequence of his employment in the former.Born in the United States, Burnham was brought up in California. He received a limited formal education but in the course of his early working life in the western United States he acquired a knowledge of mining, particularly gold mining. From 1893 to 1897 he was in present-day Zimbabwe and Zambia. It was he who led the Northern Territories (BSA) Exploration Co. expedition which established for the outside world that major copper deposits existed in Central Africa.
10
Chowdhary, Ruchita Sujai. "THE TRANSITION SAGA OF MASCULINITY IN HINDI FILMS : THEN & NOW". International Journal of Research -GRANTHAALAYAH 9, n.º 4 (30 de abril de 2021): 178–84. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3857.
Texto completo da fonteResumo:
The cinema in India has its different mark upon the masses and has a huge fan following. Being the most popular art form in the nation it has been influencing the viewers with its magical effects. With its tremendous reach among the youths it not only depict the virtual image of the society but on the same hand it is creating a world which is juxtapose of realm. Since the beginning Hindi films are revolving around the set plots of the scripted feature films showcasing a hero, a heroine, a villain and a climax after which everybody has a happy ending. Accordingly, the Hindi films have defined the heroes in its own way with some set parameters i.e. muscular body, taller than heroine, a fighter, good looks and a never ending list of traits. However, some heroes have broken this myth that a filmy hero is always a MACHO MAN. They are again redefining the personality of the heroes on the silverscreen. Thus, the aim of this research paper is to examine the change in definition of the heroes in Hindi films over a period of time. The researcher will conduct the content analysis of ten purposively selected films from the Hindi Cinema.
11
Esajas, Mitchell. "More Relevant Than Ever". Small Axe: A Caribbean Journal of Criticism 27, n.º 1 (1 de março de 2023): 87–99. http://dx.doi.org/10.1215/07990537-10461871.
Texto completo da fonteResumo:
Anton de Kom was an anticolonial thinker, resistance fighter, father, author, and poet—a renaissance man par excellance born in the Dutch colony Suriname. In his Wij slaven van Suriname (1934), De Kom, as a descendant of enslaved peoples in Suriname, described with razor-sharpness the oppression and exploitation of people on the basis of “race” and class, both during the period of slavery and after its abolition. Although he became known as a national hero in Suriname, in the former colonial metropole of the Netherlands his name, work, and life story were relatively unknown. In 2020, however, Wij slaven became a bestseller, eighty-six years after its original publication, and De Kom became part of the Dutch canon. This essay explores this new, even unexpected, “success” of Wij slaven, and indeed of Anton de Kom, within the Dutch public and political spheres.
12
Maior, Liviu. "Avram Iancu in the Spring of 1848: Considerations on the Mentality of a Revolutionary". Transylvanian Review 31, n.º 3 (19 de maio de 2024): 3–19. http://dx.doi.org/10.33993/tr.2024.1.01.
Texto completo da fonteResumo:
There are many outstanding biographies of Avram Iancu (1824–1872), as the revolutionary fighter holds an important place in the Romanian ‘Pantheon,’ the latest being Silviu Dragomir’s book of 1965. However, the attempts to approach his personality from the perspective of the history of mentalities have been conspicuously missing. This is precisely the approach chosen for the present study, which is based on the document collections published in the last half century (especially Documente privind Revoluția de la 1848 în Țările Române. C. Transilvania, including the fabulous volume 10, dedicated to Ancheta Kozma în Munții Apuseni, 2012). The testimonies of Iancu’s contemporaries, as well as the rich folklore, reveal an unknown facet of the hero, not only providing additional information on the events of the 1848–1849 Revolution, but also highlighting the revolutionary’s ideology, inner motivations and intimate drives.
13
Moroz, Ludmyla. "TYPES OF SUBJECTIVE MANIFESTATION OF A ROLE-PLAYING HERO’S CONSCIOUSNESS: PUBLIC AND POLITICAL PERSPECTIVE". Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, n.º 10(78) (27 de fevereiro de 2020): 80–84. http://dx.doi.org/10.25264/2519-2558-2020-10(78)-80-84.
Texto completo da fonteResumo:
The article deals with the artistic phenomenon of role-playing lyrics, outlines the problems of literary critics’ theoretical searches in their studies of the lyrics subject organization specifics. It also analyzes the points related to the formal methods of compositional and speech design in a poetic role-playing text. The article tries to characterize conceptual and meaningful foreshortenings which manifest themselves at the level of expression related to a composition’s ideological concepts as well as to thematic ones. The author investigates the peculiarities of role-playing lyrics artistic development in Ukrainian poetry of the 19th-20th centuries. The article gives a profound analysis to the types of subjective expression of a role hero consciousness concerning his social and political perspective. It is stated that episodic appeals to the image of a role hero in Ukrainian poetic literature already occur in the ancient poetry of the 17th-18th centuries. The gallery of role-playing characters represented by this poetry is also quite diverse. These are commoners and representatives of higher social strata as well as historical figures. The typical role-playing hero of the early Romanticism poetry is in general an artistic image the personal intentions of whom are limited to the role of a warrior-protector, a fellow, a representative of the other world established for this artistic direction. Activation of the socio-political sphere in the role lyrics in the second half of the 19th – early 20th centuries is thematically linked to the identification of three main types of role-playing heroes: 1) the type of socially and politically disadvantaged person symbolically delineated in the image of a prisoner; 2) a fighter who does not want to put up with the ugly oppression of his people and calls on the socio-political community to fight decisively against the enemy; 3) a wide and diverse gallery of satirical images of pseudopatriots. The thematic spectrum of the socio-political role sphere in Ukrainian poetry of the 20th century can be clearly and comprehensively identified by the ideological polarization of public forces related to the revolutionary upheavals, the events of the First and Second World Wars, the liberation struggle of the Ukrainians, and the repressive policies of the Soviet state.
14
Iantorno, Michael, Courtney Blamey, Lyne Dwyer e Mia Consalvo. "All in a day's work". Nordicom Review 42, s3 (1 de abril de 2021): 88–110. http://dx.doi.org/10.2478/nor-2021-0028.
Texto completo da fonteResumo:
Abstract Class depictions in videogames are prevalent, yet understudied. In this article, we analyse how the working class – particularly working-class men – have been depicted in videogames over the past 30 years. In doing so, we bring together a class- and gender-based analysis to study how narratives, representations, gameplay, and game systems construct the “working-class hero” as a central protagonist. This is done by examining eight paired examples of videogames that feature working-class characters in central roles, including janitor, fire-fighter, taxi driver, and bartender. Our analysis finds that some roles are glorified (such as firefighters), positioning their protagonists in direct conflict with white-collar settings and antagonists. However, many other roles task players with “doing their job” in the face of repetitive (and sometimes outlandish) working conditions. Through these examples, we document the portrayal of working-class videogame heroes, noting how videogames can both reinforce and subvert common media tropes.
15
Perevalova, S. V. "Review of Vinogradova, L. (2015). Defending the Motherland. Women fighter pilots of the Great Patriotic War. Moscow: Kolibri, Azbuka-Attikus. 448 pages." Voprosy literatury, n.º 6 (7 de fevereiro de 2019): 390–95. http://dx.doi.org/10.31425/0042-8795-2018-6-390-395.
Texto completo da fonteResumo:
The review considers the opinions of L. Vinogradova, who wrote a book about Soviet women pilots during World War II, based on the recently discovered documentary evidence and witness reports, as well as taking into account the relevant experience of her predecessors. At the centre of the book is a life story of the war hero L. Litvyak, who shared a similar lot with her sisters in arms. Following the descriptions in war correspondent V. Grossman’s Stalingrad Notebooks [Stalingradskie tetradi], the author details aerial battles in the skies above Stalingrad. In her reconstruction of the ferocious engagements, Vinogradova also covers the boisterous propaganda of pre-war years and questionable episodes in Russian war history. The book seeks to disprove the American historian B. Yenne, who, in his biography called The White Rose of Stalingrad, showed L. Litvyak as yesterday’s schoolgirl, killed when not yet 22.
16
Vinci, Felice, e Arduino Maiuri. "Is the Main Character of the Odyssey Really the Odysseus from the Iliad Himself?" Athens Journal of Mediterranean Studies 9, n.º 1 (19 de dezembro de 2022): 53–68. http://dx.doi.org/10.30958/ajms.9-1-3.
Texto completo da fonteResumo:
In the Odyssey the figure of Odysseus appears very different from the one outlined in the Iliad, in which he is not an archer. Also considering many other details of the Odyssey narrative – for example, the concomitance between the journey of Telemachus in search of news of his father and the unexpected return of Odysseus after twenty years, not to mention Odysseus’s strange departure from Ithaca after the massacre of the suitors – it is reasonable to assume that who could hide behind the character of Odysseus could be an expert fighter engaged by Telemachus to prevent Penelope’s impending marriage (which might have jeopardized his aspiration to become king of Ithaca). Actually, all the characteristics of the protagonist of the Odyssey correspond in an extraordinary way to those of a hero of the Iliad, the Cretan Meriones, who during the Trojan War had distinguished himself as a very strong and shrewd warrior and archer: it was he who won the archery competition in the games on the occasion of Patroclus's funeral. One can assume, therefore, that Telemachus on his journey to Pylos and Sparta met that veteran of the Trojan War who put his experience as a fighter at the disposal of the son of his former comrade in arms, helped him solve his problems and left soon after. However, later the poet of the Odyssey would have twisted the reality of the facts in order to transform the final massacre of dozens of unarmed men into a heroic and morally acceptable act. One should also consider that in this new interpretation the journey of Telemachus gains a fundamental importance, while in the traditional reading of the Odyssey it appears completely irrelevant. Keywords: Odyssey, Odysseus, Meriones, Homer, Ithaca
17
Grimmer-Solem, Erik. "»Selbständiges verantwortliches Handeln«. Generalleutnant Hans Graf von Sponeck (1888–1944) und das Schicksal der Juden in der Ukraine, Juni–Dezember 1941". Militaergeschichtliche Zeitschrift 72, n.º 1 (1 de junho de 2013): 23–50. http://dx.doi.org/10.1515/mgzs-2013-0002.
Texto completo da fonteResumo:
Abstract While the crimes of the Wehrmacht in the Russian campaign have been critically reappraised over the last 20 years, General Hans von Sponeck’s command over units of the 11th Army in the Ukraine in 1941 has been obscured by legends that serve his public commemoration as a military resistance hero and victim of the Nazi regime. The well-documented war crimes of the 11th Army and their units’ close cooperation with the SS in genocide in the summer and autumn of 1941 raise the question of Sponeck’s involvement in them. An analysis of the orders and a reconstruction of events within the area of Sponeck’s command reveal that Sponeck and his units participated actively in the struggle against »Jewish Bolshevism« and thus enabled the Nazi regime’s policy of »ethnic cleansing« in the Soviet Union. That this has until now been unknown and that von Sponeck continues to be commemorated as a resistance fighter raises renewed questions about the public‘s awareness of the role of the Wehrmacht in the Holocaust.
18
Gathogo, Julius. "‘WOMEN, COME AND ROAST YOUR OWN RAM!’: RECOLLECTIONS ON MAU-MAU GENERAL CHUI WA MARARO (1927–1956)". Oral History Journal of South Africa 2, n.º 1 (22 de setembro de 2016): 102–20. http://dx.doi.org/10.25159/2309-5792/1586.
Texto completo da fonteResumo:
Little has been written about General Chui (1927–1956), the unique and charismatic fighter during Kenya’s war of independence, yet he worked hand-in-hand with Field Marshall Dedan Kimathi Wachiuri, the overall commander of Kenya Land and Freedom Army (KLFA), also called Mau- Mau fighters. Kibara wa Mararo, later General Chui, who came from Meiria residence, Mugaya state, Kamuiru village of Mutira location, Ndia Division of the present day Kirinyaga County, Kenya, became a household name, and a hero to the then marginalised African populace, after the famous Mbaara ya Rui Ruiru (battle of river Ruiru). In this war of 1953, which took place on the border of Nyeri district (which was elevated to a County in 2010) and the old Embu district (which constitutes Kirinyaga and Embu counties), Kibara wa Mararo disguised himself as a regional inspector of the police. Clad in full colonial army uniform, he was able to trick some security officers and the loyalists who were derogatorily called Tukonia (empty sacks). This made them quickly rush to meet their boss. In a twinkle of an eye, the coded language (kebunoko) was sounded calling the Mau-Mau fighters who eventually turned their guns on the officers thereby wiping them clean in one blow. It is from there that the Mau-Mau high command declared him an army general. Since then, he became known as General Chui – ‘Chui’ meaning the sharp leopard. As Kenya marked its 50 years of independence (1963–2013), with pomp and colour, the sacrificial role of General Chui re-appears as one wonders: how was such a military genius finally ambushed at River Rwamuthambi’s Riakiania mushy cave and subsequently shot dead by the colonial forces? Did the surrendering Mau-Mau soldiers betray him, General Magazine and the other fighters who died of gun shot wounds at the Riakiania scene? Again, what were his political ideals? In its methodology, the article begins by retracing the nature of Mau-Mau movement citing the key issues that possibly caused it. It then moves on to chronicle General Chui wa Mararo as a case study. The materials in this presentation are largely gathered through interviews and archival sources.
19
Kayumova, G. F., e T. V. Sorokina. "Image features of epic characters in Tatar and Slavic folklore". Philology and Culture, n.º 3 (4 de outubro de 2023): 116–23. http://dx.doi.org/10.26907/2782-4756-2023-73-3-116-123.
Texto completo da fonteResumo:
The ethno-epic heritage of the Russian and Tatar peoples’ traditional culture is based on epic tales, including the heroic epic of the people, the ethnos. The core of traditional culture is the subject’s ideas about the ideals of wisdom, heroism and beauty, about good and evil, about man’s place in the world, as well as religious and mythological views on man’s relationship with supernatural, higher forces as a kind of life of an ethnic group’s world. Our culturological analysis of the main characters from epic tales, including the comparison with Slavic epic characters, allows us to assert that the epic image of a batyr expresses a single complex of national historical concepts and ideas about the ideal man – a warrior in the best manifestation of all his virtues, the one who realizes and implements the age–old aspirations of the people, that is, an objectified view of the world. The image of a batyr, a hero in Tatar and Slavic folklore is of interest due to its complexity and versatility. He is both a fighter against the enemies of his native land and a hero who destroys evil forces; he is an ideal warrior who can make even the khan feel fear; at the same time, he can resort to cunning and deceit at times. Thus, batyrs win not only owing to their best qualities, but also to those that are usually pushed into the shadows when positive characters are described, as if they were non-existent. Perhaps, this is where lies the excessive love and trust of the people for epic works and their heroes.
20
Лазурко, Лідія. "Постать Вільгельма фон Габсбурга (Василя Вишиваного) у спогадах і історичних дослідженнях XX – поч. XXI ст." Galicja. Studia i materiały 7 (2021): 316–26. http://dx.doi.org/10.15584/galisim.2021.7.16.
Texto completo da fonteResumo:
The purpose of the research – is to demonstrate how the historiographic image of Wilhelm von Habsburg, known as Colonel Vasyl Vyshyvanyi, was constructed on the basis of sources of personal origin and historiography materials that were deposited during the XX century. In the first time in historiography shown as the as the story of the Austrian archduke, who decided to change his national identity and chose for himself the image of a fighter for the will of Ukraine, unfolded and mythologized. The history of the life of the Austrian Archduke Wilhelm von Habsburg-Lötringen has in recent years been enriched by a number of thorough studies. The main issue of this research was the question of choosing a Ukrainian national identity. The construction of the Ukrainian legend Vasyl Vyshyvany in the historiography began, based on his own autobiography. As the accumulation of source and scientific material, the question of the vision of the hero evolved: from explaining the circumstances of change of national self-identification to exploring the motives of this step. Changes in the interpretation of this issue were also outlined and brought to the cultural and philosophical research field.
21
Milawati, Milawati. "MEMPERKENALKAN SEJARAH PAHLAWAN NASIONAL KH. NOER ALI BAGI PESERTA DIDIK MI/SD DI INDONESIA". IBTIDAI'Y DATOKARAMA: JURNAL PENDIDIKAN DASAR 2, n.º 1 (29 de junho de 2021): 13–24. http://dx.doi.org/10.24239/ibtidaiy.vol2.iss1.7.
Texto completo da fonteResumo:
Heroes have a very big role in the process of the struggle for Indonesian independence. One of the national heroes who fought for Indonesian independence is K.H. Noer Ali. K.H. Noer Ali is a national hero from Bekasi, West Java. The spirit of fighting for Indonesian independence has been in his soul since he was a child. K.H. Noer Ali is a charismatic cleric figure who has a major influence during the Dutch and Japanese colonial times, and is a popular nationalist scholar who is loved by the people. K.H. Noer Ali is also an army cleric with the rank of colonel who is a symbol of the struggle of the people of Bekasi. K.H. Noer Ali contributed a lot to the process of Indonesia's struggle, both in the political, religious, socio-cultural and educational fields. K.H. Noer Ali participates in several Islamic organizations and serves as chairman of the MUI. K.H. Noer Ali is a founder of the Attaqwa Islamic boarding school. As a fighter who has a high spirit of nationalism and homeland command, K.H. Noer Ali participated in educating the nation's children by establishing Islamic boarding schools.
22
Kamalakar Baburao Gaikwad. "Penitence and Restoration of Samson Through the Lens of John Milton’s Samson Agonistes". Creative Saplings 2, n.º 11 (25 de fevereiro de 2024): 29–40. http://dx.doi.org/10.56062/gtrs.2024.2.11.515.
Texto completo da fonteResumo:
‘Samson Agonistes’, a Miltonic drama is the record of violation of religious obligations carried out by the devout leader Samson Agonistes. The violation of God’s commandments and its brutal consequences leads towards the glorification of spiritual intimidation which causes the death of the protagonist Samson. Milton portrays Samson’s destructive abuses on the verge of his bereavement. This struggle of Samson is rightly described as ‘deathlike distinctiveness’. It is the internal dilemma of Samson to deal with the situation and he wishes to decode his awareness about the blunder which he had committed. The major objective of this research paper is to emphasize the manifestation of spiritual capacity of Samson and his violation of religious obligations through John Milton’s Samson Agonistes. The researcher has attempted to portray the penitence and restoration of wrecked hero, Samson who was endowed with enormous vigour and a competent warrior. We can visualize that God; the almighty raised Samson, an inferior Jewish associate and made him a redeemer of Israelites. Finally this broken and repentance spirited fighter meet to the tragic death which resulted into the liberty of Israelites.
23
Strokal, Oleksandr. "THE ORIGINS OF OLEKSII DOVHIY’S POETIC SPACE". Studia Linguistica, n.º 16 (2020): 115–28. http://dx.doi.org/10.17721/studling2020.16.115-128.
Texto completo da fonteResumo:
The article analyzes the nature of linguistic explication of the ideas of Oleksii Dovhiy’s lyrical hero about the features of the universe and the organization of the universe. The author deals with such issues of general theoretical significance as the concept and linguistic worldview. During the research it was found out that Oleksii Dovhiy’s poetry combines the revelation of a son who prides himself on the glory of generations, paternal and grandfather’s moral principles, confession of a fighter for the Fatherland, a manuscript of the medium, to whom all the secrets of the universe are revealed. The language of his poetry reflects the representation of his lyric hero about the three-component world, which consists of the upper, middle and lower tiers. His lyric hero is aware of the HIGHER WORLD as a world of the divine, a world of eternal truths and laws, a world of angels and pure poetry. The main images that fill this world are the images of sun, sky, bird and wind. One of the central concepts that actualize the locus of the MIDDLE WORLD (or world of the earth) in Oleksii Dovhiy’s poetic universe is the image-concept of the LAND. This image is an expression of such lexical and semantic variants of the land tokens as ‘the native land (Ukraine)ʼ and ‘the upper layer of the earth’s crust; soil that is cultivated and used for growing plantsʼ. THE UNDERGROUND WORLD is updated by entering the words «field» and «shadow» in the text. As research has shown, the image of the road in Oleksii Dovhiy’s poetic space is one of the central ones, since, firstly, the verbalizers of this image often act as components that make up the macro-image of the MIDDLE WORLD, and secondly, the image is combined different time shades in the horizontal spatial plane of the author’s world plane. THE UNDERGROUND WORLD is represented in most cases by tokens that are associated with other spatial tiers. However, by entering into the text, such units as «shadow» and «field» acquire contextually predetermined semantic nuances that associatively associate with the lower tier.
24
Lazarević Radak, Sanja. "Tito and Children in Political Folklore 1980: Wishes for Tito's Speedy Recovery". ISSUES IN ETHNOLOGY AND ANTHROPOLOGY 16, n.º 2 (19 de julho de 2021): 509–27. http://dx.doi.org/10.21301/eap.v16i2.8.
Texto completo da fonteResumo:
In 1980 Tito's health deteriorated. The citizens of Yugoslavia followed the news about the course of his illness with apprehension and anticipation. From January to May 1980, citizens sent more than four hundred thousand messages wishing Tito a speedy recovery. Among the most numerous were children. Starting from the assumption of the closeness between political socialization, folklore and political culture in Yugoslav society, in this paper I analyze some of the basic motives present in the messages that children sent to Tito. Insight into the messages that the editors of the publication "Tito. Messages, wishes - the children of Yugoslavia" call a "vow", and in the sense of the promise that children will preserve the achievements of Yugoslav socialism, it enables the reconstruction of Yugoslav political myths and Tito's representation within children's political culture. The reconstruction of the narrative enables the recognition of the following motives: Tito as a hero and a fighter against all evil; 2. Tito as a solar deity; 3. Tito as an (imaginary) friend and protector of all the children of the world. For the purposes of this paper, wishes for a speedy recovery are understood as a folklore genre, and some of the specifics of Yugoslav children's political folklore.
25
Kani, Ass Prof Dr Maha Mazhar. "Sheikh Al-Khaleesi in the book “Faisal I, King of Iraq”". Thi Qar Arts Journal 2, n.º 44 (31 de dezembro de 2023): 147–84. http://dx.doi.org/10.32792/tqartj.v2i44.493.
Texto completo da fonteResumo:
Criticism of historical books is known for its positive and negative critical evaluation of their historical content. It involves analyzing the strengths and weaknesses of the book and assessing its historical scholarly quality. In this historical scientific study, we attempted to provide implicit detailed analytical criticism and evaluate the historical text of the book "Faisal I, King of Iraq." We focused on studying, analyzing, and drawing conclusions from the religious authority of the Khaleeji lineage in the city of Kazimiyah and its religious and political impact on modern Iraqi history. Throughout this study, we presented the reader with a brief introduction to the basic information about the book and its author. We analyzed the historical content of the book by rephrasing the author's conclusions and providing comments supported by documents on each conclusion related to the topic of the Khaleeji family leaders, Sheikh Mahdi and his son Sheikh Muhammad Al-Khaleesi. We also considered the author's writing style and evaluated the organization of the book presented for study and its use of references and other methodological aspects¹.
Contemporary Iraqi history holds significant importance in scientific studies across its political, historical, and social aspects. Recognizing the historical memory of this intellectual heritage and invoking it for successive generations through a rigorous scientific approach is crucial. Our study specifically analyzed the positions of the Khaleeji religious authority in the book "Faisal I, King of Iraq," which comprehensively documents the life of one of the most significant rulers in Iraq's entire history. Faisal I stands out as a prominent figure in the Middle East during a sensitive historical period. His role was pivotal in establishing modern Iraq in 1921. As nations take pride in their national heroes, fighters, and martyrs, the Iraqi memory should always honor the life milestones of Ayatollah Sheikh Muhammad Mahdi Al-Khaleesi (1860-1925), who was a national hero and a fighter. He also served as the highest religious authority during the reign of King Faisal I¹.
26
Smorzhevska, Oksana. "THE IMAGE OF TARAS SHEVCHENKO IN THE CREATIVE HERITAGE OF VOLODIMIR SHAYAN: "THE PROPHET OF THE LIGHT MISSION OF UKRAINE"". Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1, n.º 33 (23 de março de 2022): 91–96. http://dx.doi.org/10.25264/2409-6806-2022-33-91-96.
Texto completo da fonteResumo:
Studying Volodymyr Shayan's interpretation of the figure of Taras Shevchenko, his role in the history of Ukraine, his influence on literature, his messianic role for the Ukrainian people is an important aspect of understanding the historical context of the Ukrainian diaspora. In his works, V. Shayan deeply immersed himself in the analysis of the creative heritage of Hryhoriy Skovoroda, Ivan Franko, Lesia Ukrainka, their worldviews, influence on the Ukrainian people, its culture and history. V. Shayan considered the work of Taras Shevchenko as a world phenomenon. The events of Khmelnytsky's time were embodied in Skovoroda's philosophical system. From all this was born the genius of Shevchenko. This is exactly what the spiritual chain of awakening and creation of the Ukrainian nation according to Shayan looks like. Kobzar was perhaps the most glorious warrior-hero, with a ruthless weapon – the word. V. Shayan uses the example of Taras Shevchenko's poetic work to analyze his biography in the context of the time when Kobzar lived and worked. For Shayan, Shevchenko is an incredible artist-prophet-thinker-fighter of world scale. Taras Shevchenko, his work, his spiritual mission became an important component in the life of the Ukrainian diaspora of the twentieth century. The study of V. Shayan's works, in particular those dedicated to Taras Shevchenko, shows us the worldview of a certain part of the Ukrainian diaspora of the twentieth century, its mood and aspirations, as well as the connection with the homeland through history, culture and religion.
27
Mahyuni, Ida Ayu Putu. "Model Pendekatan Perjuangan Emansipasi R.A.Kartini dari Perspektif Perjuangan Kesetaraan Gender Dewasa Ini (Sebuah Kajian Kepustakaan)". Pustaka : Jurnal Ilmu-Ilmu Budaya 18, n.º 1 (28 de fevereiro de 2018): 53. http://dx.doi.org/10.24843/pjiib.2018.v18.i01.p08.
Texto completo da fonteResumo:
Raden Ajeng (R.A.) Kartini has been known as an Indonesian women’s emancipation fighter. In addition, R.A.Kartini is also known as the pioneer of the Indonesian nationalist movement, hence the state has appointed him a national independence hero (Moedjanto, 1983: IV). R.A.Kartini emancipation struggle is not done in a physical struggle, but done through the struggle of his thoughts or ideas. This paper reveals the emancipation struggle approach model R.A. Kartini from the perspective of the struggle for gender equality today (a literary review). To understand this problem, gender analysis is used as an analytical tool to understand the social realities of gender-differentiated relations between men and women. The concept of emancipation is not much different from the concept of struggle of gender equality known today, these two concepts aims to fight for the rights of women with men to be equal and equal in accordance with the context of the ability of each individual. Gender itself is a concept that refers to men and women who are distinguished not biologically or naturally but are distinguished on the basis of social and cultural constructs. Thus, both men’s and women’s societies can create, socialize, reinforce gender-based differences, so long as gender differences do not create injustice between men and women no matter the need to be sued, but the issue is when gender differences are constructed social and cultural causes of gender injustice that harm both men, especially for women (Fakih, 1999: 12). In connection With this there are several issues that need to be studied, among others: 1. How to model the approach to emancipation struggle R.A.Kartini in advancing the education of women? 2. How is the approach model of R.A.Kartini emancipation struggle fostering equality in family and marriage? 3. How does the emancipation struggle approach model of R.A.Kartini foster equality in improving the welfare of the people? All these issues will be examined from the perspective of today’s gender equality struggle.
28
Bracka, Mariya. "THE MEMORY OF THE UKRAINIAN COSSACK IN THE LITERARY APPROACH OF UKRAINIAN AND POLISH ROMANTICS". Polish Studies of Kyiv, n.º 39 (2023): 27–49. http://dx.doi.org/10.17721/psk.2023.39.27-49.
Texto completo da fonteResumo:
The article fits into the trend of contemporary humanities research called «memory studies». It was pointed out that the study of forms of artistic memory in literature provides answers to fundamental questions regarding individual and collective (national, ethnic, cultural) identity. The text attempts to describe the strategy of preserving the memory of the common hero of the Polish and Ukrainian nations – the Cossack – a key figure in the works of Polish and Ukrainian Romantics. To achieve this goal, the concept of mnemotopoi was used, because there is no doubt that the Cossack – realizing the ancient and later topoi of a young man, a knight – becomes a figure constantly recurring in the memory of subsequent generations. Topoi somehow encodes common places in collective memory, in cultural memory, creating mnemotopoi. The image of the Cossack in the works of Polish and Ukrainian romantics was created at the intersection of the traditional vision presented in Ukrainian oral folk art and sentimental tradition, on the one hand, and new romantic tendencies, on the other. The «building of memory» about the Ukrainian Cossack in Ukrainian culture is built primarily by folk songs – dumas, historical songs, love songs. Folk songs served as the basis for the works of many romantics: Józef Bohdan Zaleski, Tymek Padura, Aleksander Groza, Levko Borovykovski, Amvrosiy Metlynski and others. Such features of the Cossack community as: love of freedom, readiness to gamble and sacrifice for the faith, comrades and native land, appearing in early romantic poetry, are taken over from Ukrainian folk songs. In general, the mnemotopoi of the Ukrainian Cossack in Polish and Ukrainian romantic poetry builds the basic models of Cossack behavior, including striving for group integration, mutual help, fierceness in the fight against the enemy, as well as such characteristics as bravery, cunning, and physical strength. This is the figure of the Ukrainian Cossack that Levko Borovykovski, a pioneer of Ukrainian romanticism, tries to remember. At the same time, romantic motifs intensify in his poems: idealization and ideologization of the historical past, concentration of those principles of folk creativity that corresponded to romantic poetics and the romantic concept of personality: immersion in one’s own inner world, avoidance of the external world, spontaneity of actions, tragic perception of the world, premonition of death, rejection of earthly goods, denial of the prose of life. In the poetry of the Ukrainian Romanticist Amvrosiy Metlynski, the Cossack changes his role and becomes, above all, a defender of the people. He is remembered as a hero of times gone by, someone who no longer exists in the times of the Romantics and sleeps in his grave. The life of the nation contemporary to the poet is a time of sadness and mourning, degradation of the nation’s spirit, decline and oblivion, while the Cossack times are a period of greatness, dignity, bravery and freedom. The lasting memory of Cossack is shaped by the poetry of Taras Shevchenko. In the mnemotopoi created by an outstanding romantic, he is a representative of the Ukrainian nation, accumulating its best features, being its defender, a brave knight and a hero. Kozak’s romantic mnemotopoi has the same variant in Shevchenko’s poetry as Haidamak’s. And if in Polish romantic poetry we see these two characters strongly differentiated, for Shevchenko Haidamaka is as much a defender of the freedom of the oppressed people as the Cossack. In Polish literature, Józef Bohdan Zaleski began to shape the early version of the romantic mnemotopoi of the Cossack. Inscribed in sentimental poetics as faithful friends and allies of Poles, they will remain in memory as knights fighting for a common homeland and the Christian faith. No matter how important the specific features of the Cossacks may seem, what stands out in the foreground in Tymek Padura’s work is the brotherhood or even unity of this people with the Poles. The Padura Cossack is primarily an inhabitant of the areas located on the outskirts of the Polish-Lithuanian Commonwealth. Padura found deep historical justification for the unity of Cossacks and Poles – he argued that both nations originated from one stem. Kozak’s mnemotopoi in Polish romantic literature is multi-layered. He also reveals his other side – the enemy Cossack, the murderer, the «rizun». Goszczyński’s «Zamek Kaniowski» also commemorates the type of Cossack – a romantic hero – a lonely and haughty Cossack Nebaba, with a torn consciousness, tainted by the stigma of crime, but this piece probably contributed most to perpetuating in memory the image of Haidamaka – cruel, fierce in the desire for revenge, spontaneous and cunning. The most important figures of Słowacki’s Cossacks break the coherence of the memory of a strong, brave, cunning, and fierce Cossack in the fight against the enemy. In Słowacki’s works, for example in «Żmia», he is a hero with two faces, axiologically very ambiguous. In «Sen srebrny Salomei» Słowacki contributed to remembering Ukraine as brutal, barbaric and apocalyptic. Axiologically, the image of Semenka, which builds the mnemotopoi of the Ukrainian Cossack, is described by the poet as insidious, treacherous, terrible and bestial. The memory of the Cossack – a hero common to the Polish and Ukrainian nations – is different among Polish and Ukrainian romantics: although they share the features of a typical romantic, Byronic hero, for Ukrainian romantics he is primarily a fighter for his own freedom and the freedom of the Ukrainian people, a defender of the people’s rights, an avenger. human wrongs. For Polish romantics, on the one hand, he is a friend and ally, living in symbiotic unity with Poles, and on the other hand, he is a cruel, murderer, dividing the world into «own» and «alien» and destroying everything that is foreign, while defending the values of «own» world. At the same time, they are often located on the border of worlds, using extraterrestrial, demonic forces, represented in the form of the Cossack-kharacternik.
29
Khalilov, Ruslan O. "V. P. Kataev’s comedy Time, forward!: The artistic image of the main character in the context of the variants of the work". Izvestiya of Saratov University. Philology. Journalism 23, n.º 4 (22 de novembro de 2023): 381–86. http://dx.doi.org/10.18500/1817-7115-2023-23-4-381-386.
Texto completo da fonteResumo:
The article studies the variants of Valentin Kataev’s comedy Time, forward! in order to identify edits that influenced the author’s expression and the reader’s perception of the image of the main character. While researching comedy variants, it was found that the authors interested in Kataev’s work avoided the comedy Time, forward!. In our opinion, knowing about the corrections of the text of the play, Soviet critics, guided by political correctness, did not dare to engage in public polemics and literary-critical discussion around the famous writer. In the post-Soviet period, Kataev’s dramaturgy lost its relevance, did not kindle the interest of specialists. This study was conducted on the material of the comedy editions published during the author’s lifetime. Its relevance is justified by establishing the originality of the image of the main character of the main version of the work, reflecting the characters, emotions and feelings of people of its era. As part of the sample analysis it was found that by making corrections to the climactic scenes of the ending of the 1934 play, the author leaves the plot, the sequence of scenes, the system of images, the general idea of the work unchanged. During the comparison of the variants of the work, the edits made by the author to the two scenes of the finale were revealed. These scenes, connecting with the preceding scene, create a single plot and ideological and emotional node of the climax of the work. The image of the characters and the hero acquire a completely different appearance. With the appearance of comedy in public and up to the present, it has been believed that the image of the main character is a passionate and uncompromising fighter for the communist attitude to work. The edits revealed in the study in the version of the comedy of 1934, without dismissing the hero’s struggle for the result, a high pace in the socialist competition, indicate self-assertion of personality: high morality, friendly feelings. The image of the communist hero, which did not correspond to the literary and political canon, caused acute criticism and was the reason for suppressing the work. The results of the study give ground to consider the version of the play Time, forward! of 1934, a valuable source reflecting the characters, emotions and feelings of the heroes of its time.
30
Sayers, William. "Steingerđr's Nicknames for Bersi (Kormáks SagaImplications for Gender, Politics, and Poetics". Florilegium 12, n.º 1 (janeiro de 1993): 33–54. http://dx.doi.org/10.3138/flor.12.003.
Texto completo da fonteResumo:
When the marriage contracted between Kormákr and Steingerơr is not realized due to the curse by the sorceress ƥơrveig and Kormákr's vacillation, the young woman is given by her family to the widower Bersi Véleifsson of Saurbrer, a cousin of óláfr pai and descendant of the matriarch Auðr djúpauðga. Bersi is wealthy and is renowned as a juridical duellist. Like the hero of the saga Bersi is a poet, but their temperaments and reputations are significantly different. The quarrelsome Kormá.kr continues to pay his attentions to Steingerðr long after the marriage. This leads to two challenges to single combat according to the formal rules of hÓlmganga. The alternating blows, from which the antagonists were protected by shields held by their "seconds," were suspended at first blood. Bersi and his party win the first encounter in ambiguous fashion, when the tip of Bersi's sword is broken off but still splits Kormákr's thumb. Given the erotic ambience of the saga, this injury is consonant with the psychological impediment or sexual dysfunction resulting from the curse by ƥÒrveig, whose sons Kormákr had killed (Sayers 1992). Kormákr rejects the magical stone associated with Bersi's sword to assist the recovery from the injury, just as he is impatient with the ritual associated with magically endowed weapons or the acquisition of partial invulnerability in combat. In a second duel Kormákr's uncle Steinarr, also a fighter of repute, faces Bersi, while the irascible poet holds the shield. Steinaxr’s sword glances from the shield held before Bersi, clips one buttock, and buries itself in the bone at the side of his knee. Yet Bersi is able to strike a blow that splits Steinarr’s shield and reaches his chest. A halt is called and the dubious victory goes to the other party. Bersi’s leg wound is the more serious of the two and is slow to heal.
31
Kulsum, Umi. "REPETISI SEBAGAI PENGUAT IDE DALAM PRODUKSI BAHASA R. A. KARTINI". Metalingua: Jurnal Penelitian Bahasa 15, n.º 1 (18 de janeiro de 2018): 103. http://dx.doi.org/10.26499/metalingua.v15i1.158.
Texto completo da fonteResumo:
R.A. Kartini is known to be born in April and her birthday has become nationalholiday. There is certainly a good reason to appoint her as one of national hero andwas titled as woman emancipation fighter. Despite many books about her work, thelanguage aspects of her writings are rarely discussed. This writing is meant to fillin such absence and aims at revealing a linguistic aspect, namely repetition, in hernovel “Habis Gelap Terbitlah Terang”, which she used to amplify her ideas. Thereare two problems to solve, namely (1) the types of repetition used in her work; and(2) the effect of using such repetition, using descriptive method. The result shows thatKartini used many types of repetition, namely anaphora, mesodiplosis, epistrophe,simploque, epizeuksis, tautology, epanalepsis, and anadiplosis. It was revealed thatthose types of repetition played a big role in amplifying her ideas in the novel. AbstrakBulan April identik dengan bulan R. A. Kartini karena pada bulan inilah beliaudilahirkan dan hari kelahirannya dinyatakan sebagai salah satu hari besar nasional.Tentu ada alasan kuat mengapa R.A. Kartini dinobatkan sebagai salah satu pahlawannasional dan mendapat gelar pejuang emansipasi wanita. Untuk kiprah Kartini, sudahbanyak tulisan yang membahasnya. Akan tetapi, dari unsur kebahasaan, masih jarangtulisan yang mengupas bagaimana aspek kebahasaan dalam tulisan R.A Kartini dantulisan ini mencoba mengisi rumpang yang ada, yaitu mengungkap salah satu aspekkebahasaan dalam novel Habis Gelap Terbitlah Terang karya R.A. Kartini, yaituaspek repetisi yang digunakan R.A Kartini dalam menguatkan ide beliau. Masalahpenelitian ini adalah (1) repetisi apa saja yang digunakan oleh R.A. Kartini dalamkaryanya? dan (2) efek apakah yang timbul dari penggunaan repetisi tersebut?Metode yang digunakan adalah metode deskriptif. Hasil yang diperoleh adalahsangat banyak dan beragamnya repetisi yang digunakan oleh Kartini, di antaranyaadalah anafora, mesodiplosi, epistrofa, simploke, epizeuksis, tautologi, epanalepsis,dan anadiplosis. Selain itu,dapat diungkap bahwa repetisi-repetisi tersebut sangatberperan dalam penguatan ide-ide Kartini dalam novelnya.
32
Sharipova, D. S., A. B. Kenjakulova e A. I. Tulenova. "Actualizing national folklore in graphics and comics in Kazakhstan". Keruen 74, n.º 1 (15 de março de 2022): 253–64. http://dx.doi.org/10.53871/2078-8134.2022.1-20.
Texto completo da fonteResumo:
The article deals with one of the significant problems of contemporary culture – the ratio of global and local on the example of mastering of national folklore in the works of graphic artists of Kazakhstan. The authors trace changes in visual interpretation of Kazakh folklore in the context of development of the visual art of Kazakhstan in different socio-historical conditions. The main issue for researchers is the actualization of folklore in the modern Kazakh graphic art and comics, which reflects common identification strategies, as folklore provides an opportunity to represent ethno-cultural identity, and simultaneously, through turning to folklore motifs, artists try to learn new art forms and reach innovative formal and conceptual solutions, meaningful in the global context. The recognized problem is largely brought up to date by the popularity of comics with modern audiences. The features of motifs depicting rituals, holidays, ritual scenes, which, according to researchers, are associated with the expansion of the influence of the traditional culture of the Kazakh people, the appeal of graphic artists to national codes, moral imperatives of the nation, as well as their active propaganda, are studied. It is revealed that the appeal to folklore, the use of its figurative-semantic system leads to the fact that in easel graphics and comics not related to the illustration of folklore, the folklore understanding of the hero as a fighter against chaos and instability of the world is used, performing the therapeutic function of adaptation to modern reality.In this article the attention is given not only to Kazakh graphic art, but also to the achievements of the global graphic art, which allows revealing the potential of global art trends for innovations on a regional scale.
33
Aleksandrova, Maria А. "Pestel vs. Pestel: L. Zorin’s tragedy The Decembrists and B. Okudzhava’s novel Poor Avrosimov". Izvestiya of Saratov University. Philology. Journalism 22, n.º 3 (24 de agosto de 2022): 320–29. http://dx.doi.org/10.18500/1817-7115-2022-22-3-320-329.
Texto completo da fonteResumo:
This paper undertakes a comparative analysis of two interpretations of Pavel Pestel’s personality and fate in the literature of the late Khrushchev thaw. The contribution of the peer writers to the liberation of cultural and historical memory from official dictatorship is discussed, the basis of their ideological similarity is shown: this is the awareness of the fatal problem of morality and revolution (Zorin). The author of the tragedy The Decembrists (1966) and the author of the novel Poor Avrosimov (published in 1969) worked with the same documents on the history of Decembrism, but each of them established his own hierarchy of sources. The article shows the difference between creative strategies and remarkable artistic results of both authors. Zorin, who surprised his contemporaries with his bold approach to a familiar topic, on the whole remained true to the spirit of the Decembrist myth. For the playwright, the memoir testimony of the priest Myslovsky (“Nothing shook his firmness”) was of paramount importance; therefore, even on the eve of his execution, Zorin’s hero is presented as a forward-looking fighter. The chief Decembrist in Okudzhava’s work is different: the concept of the novel is based on the facts that “in the first person” overturn the mythologized reputation of Pestel. This allows the modern writer to see the eternal – existential – nature in the old political tragedy. The context of Okudzhava’s creative search is formed not only by historical documents, but also by impressions from the Decembrists (a play and performance on the stage of the Sovremennik Theatre); the article underlines the main aspects of the polemical dialogue between the novelist and the playwright. While Zorin’s play skillfully updates the Decembrist mythology and Pestel’s personal myth, the myth in Okudzhava’s novel is reflected and hence overcome.
34
Kiseleva, A. M. "The Concept of " Muzh" (Husband): Motivating Signs". Bulletin of Kemerovo State University 22, n.º 2 (8 de julho de 2020): 516–24. http://dx.doi.org/10.21603/2078-8975-2020-22-2-516-524.
Texto completo da fonteResumo:
This article presents a historical and etymological analysis of the motivating signs of the concept of "muzh" (husband) in the Russian language. Primary signs of the concept make up the internal form of a word and serves as the basis for new cognitive signs. Actual motivating signs appear first as conceptual ones and later as functional, evaluative, symbolic, and figurative. The primary motivating sign is "man": it is the oldest one and goes back to the pre-Indo-European language. The analysis of etymological dictionaries revealed 42 motivating signs. The article provides examples of the representation of this concept in the literature, including the modern one. Etymological and historical-etymological dictionaries revealed the following motivating signs of the concept of "muzh" (husband): a man; a male spouse; an adult man; a man that understands; a scientist; an ancestor; an Amazon female warrior; an age; people; community member; a serious man; a citizen; a brave man; a strong man; a fighter, a warrior; an ordinary man; a hero; a male celebrity; a respected, venerable man; a public figure; a witness; a free man; a peasant, a farmer; a feudal-dependent peasant; a peasant (low status in legal relations); to man oneself; a person with unnaturally large manhood; a male specimen; an attendant of a tsar, king, or prince, a noble man; a servant of a prince, a warrior in the prince’s squad; a divine husband; a man of desire; a blood man, a murderer; big men (a privileged part of the free population in Ancient Russia); young men (a less privileged part of the free population in Ancient Russia); nobleman (a great man); a member of household; a servant; a hand (worker); a slave; someone who is ready. Such a long list of motivating signs confirms the ancient history of the concept and its socio-cultural significance in the Russian linguistic worldview.
35
Zvegintseva, Irina A. "A Criminal as the Main Movie Character, or Old Themes and New Solutions". Journal of Flm Arts and Film Studies 8, n.º 3 (15 de setembro de 2016): 115–25. http://dx.doi.org/10.17816/vgik83115-125.
Texto completo da fonteResumo:
The former British colony, emerged as a place of exile for the most dangerous criminals and unreliable people from the metropolis, Australia began its existence very unenviable, appearing on the world map called "The Earths hell", which was used to frighten children in Europe. The fact is: the gene fund of the nation - the convicts, their guards, and adventurers came from all over Europe in hope of a better life. The first half of the 19th century Australia, in fact, remained a giant reforming home, a jail. And whatever paradoxical it might explain the significant number of films shot in the 20th and in 21st centuries with criminals as protagonists. When touching upon permanent plots and problems in Australian cinema, it should be noted that the "eternal" love of the inhabitants of the Green continent to the favorite national hero Ned Kelly, a former convict and burglar has not disappeared. In the minds of the Australians the burglar has become a symbol of the fighter against injustice, a sort of "Australian Robin Hood". The main characters of the movies were bushrangers in Australia called escaped convicts, pariahs of the society, hunting armed robberies and burglaries, hiding from justice in the vast valleys of the Australian Bush. Here, incidentally, there is a parallel with the American film industry that also has surpasses the rank of the most beloved and popular criminals in the country from Al Capone, Bonnie Parker and Clyde Barrow up to Bugsy Siegel and John Dillinger. But soon such films were banned because of the monopolies of the USA and the UK movies on the Australian market. However, life itself has started to supply filmmakers with the stories that hardly could come to the minds of writers with the wildest imagination. The real horrible crimes and not less real maniacs, sadists, pedophiles, whose actions have forced to shudder the whole society, both in the past and the present, formed the basis of a number of films shot in Australia. The analysis of these movies, the authors' position, the artistic value of works have become the target of this article.
36
FEDORIAKA, Ludmyla, e Viktoria REVENKO. "LANGSTON HUGHES’S STYLE IN HIS STORY «ON THE ROAD»". Науковий вісник Ужгородського університету. Серія Філологія 2, n.º 44 (19 de dezembro de 2020): 439–45. http://dx.doi.org/10.24144/2663-6840.2020.2(44).439-445.
Texto completo da fonteResumo:
Langston Hughes (1902‒1967) is considered to be paradoxically one of the most ambiguous as well as under- standable writers of the American «Harlem Renaissance». His short stories as a key genre of his literary paradigm brought him a world fame and he is remembered now thanks to the peculiar author’s manner of writing. In this article the investigators deal with the problem of L. Hughes’s individual style, – a criterion, which, indeed, made this literary man a wide popularity among his famous contemporaries and future generations of writers. This constituent part of his creative work deserves a separate deep and detailed analysis. The authors of this article make an attempt to trace the uniqueness of L. Hughes’s style on the example of his well-known fragment «On the Road». As a result of the scientific work it was proved that the author widely used all stylistic levels – phonetics, lexicology, syntax and semasiology. On the level of phonostylistics the author of the story widely uses alliteration, onomatopoeia, graphon and italicized words which are helpful to demonstrate natural phenomena and to portray the main hero. From the viewpoint of lexicology, L. Hughes’s story is specific because the author prefers words of neutral and colloquial origin as he wants both to illustrate characterological features of Sargeant and to show the key addressee of the story. Here, we deal with the fact that L. Hughes wrote his fiction about ordinary people to be read by them, so, the choice of his word-stock is logical. Syntactically, the story «On the Road» is very representative as is considered to be suitable for realization the author’s goal. L. Hughes uses many stylistic figures in this piece of prose. Elliptical and nominal sentences, detached and parallel constructions, inversion, anaphoric sentences, repetitions, enumerations serve to reveal the main hero’s physical and psychological state. Means and devices depicting the imaginary background of the story are also presented in the text by the author. In this regard, L. Hughes uses epithets, similes, but they are frequently used in the laconic text of the story and create the image of winter and the destiny of the main hero. So, having explored stylistic peculiarities of the story «On the Road», the authors of this article came to conclusion that the author uses language media of all linguistic levels, he obtains the capaсity to combine them in a comparatively short textual space, and this combinability leads to the birth of a particular, extra-ordinary style of the author. One should take into account that this non-traditional manner of Hughes’s expressing thoughts also testifies about the fact that the usage of such style of writing is very powerful and appropriate to realize his global aim – to raise the racial problem, which was spread in America in the 30s, and which, moreover, L. Hughes was personally survived and, therefore, cordially sympathized himself. That’s why, in this story L. Hughes declares himself not only as a brilliant linguist but and as a convinced fighter against racism in the USA also with the help of his unique style of writing.
37
&NA;. "Action Hero Fights Real-life Foe". Neurology Now 2, n.º 4 (julho de 2006): 9. http://dx.doi.org/10.1097/01222928-200602040-00009.
Texto completo da fonte
38
Lane, Sarah M., e Mark Briffa. "Perceived and actual fighting ability: determinants of success by decision, knockout or submission in human combat sports". Biology Letters 16, n.º 10 (outubro de 2020): 20200443. http://dx.doi.org/10.1098/rsbl.2020.0443.
Texto completo da fonteResumo:
Animal contest theory assumes individuals to possess accurate information about their own fighting ability or resource-holding potential (RHP) and, under some models, that of their opponent. However, owing to the difficulty of disentangling perceived and actual RHP in animals, how accurately individuals are able to assess RHP remains relatively unknown. Furthermore, it is not just individuals within a fight that evaluate RHP. Third-party observers evaluate the fight performance of conspecifics in order to make behavioural decisions. In human combat sports, when fights remain unresolved at the end of the allotted time, bystanders take a more active role, with judges assigning victory based on their assessment of each fighter's performance. Here, we use fight data from mixed martial arts in order to investigate whether perceived fighting performance (judges' decisions) and actual fighting success (fights ending in knockout or submission) are based on the same performance traits, specifically striking skill and vigour. Our results indicate that both performance traits are important for victory, but that vigour is more important for fights resolved via decision, even though the effect of vigour is enhanced by skill. These results suggest that while similar traits are important for fighting success across the board, vigour is overvalued in judges' perceptions of RHP.
39
Artemenko, Inna. "The motif of personal resistance in the dramatic interpretation of the Revolution of Dignity". Synopsis: Text Context Media 26, n.º 2 (2020): 24–31. http://dx.doi.org/10.28925/2311-259x.2020.2.2.
Texto completo da fonteResumo:
The Subject of the study is personal resistance, which occupies an important place among the objects of philosophical understanding. Therefore, its implementation in fiction, especially in the Ukrainian drama of the last decade, is quite relevant. The Revolution of Dignity has made its adjustments in understanding the motives of resistance, compared to previous revolutions and coups, because that experience took place with completely different information and technical capabilities, and they are important for the organization of people. In addition, the motive of resistance has its own tradition in Ukrainian literature, consisting of works by Taras Shevchenko, poets of “Visnyk”, sixtiers, and dissidents. However, it is mainly journalism and poetry. A new wave of Ukrainian resistance poured into literature. But it is especially important to study the motive of resistance in the dramatic sense, because it is a somewhat new experience. Any resistance movement has a number of organizational and psychological conditions under which it takes place. These conditions are reflected, if not differently, then with shifted accents in the texts of the plays. The article considers dramatic works written before, during and after the Revolution of Dignity. The aim of the article is to trace how the artistic understanding of the social causes and identity of the participant of the resistance movement has changed in the plays dedicated to the Maidan in 2013–2014 and the events taking place in Ukraine as a result of the Revolution. Special attention is paid to the formation of the image of a hero, fighter, patriot. The development of personal resistance in accordance with the described events and the time of their action are considered. Methods of plot and textual analysis, conflict studies and intertextual methods have been used to achieve the set tasks. The study is based on two anthologies of modern Ukrainian drama “Maidan. Before and after” and “Labyrinth of ice and fire”. Due to their structure, these collections allow us to consider personal resistance as a dream, as a real acting image and as a heroic, patriotic feat. Also, the article traces the literary means of creating such an image, and how these means change depending on the development of the image in the texts. All dramas create a generalized image of a Ukrainian, who has all the best qualities, impulses and views, he has high patriotism, willpower, courage, etc., and is thus the image of the Ukrainian who “lacks” the country. This is a dream hero. However, in different sections of the collections, this image changes, transforms and improves. And at the same time the motive of the participant's resistance changes. For the first time, it is traced how Ukrainian playwrights felt and understood the reasons and the course of social, including personal, resistance that led to the Revolution of Dignity. Particular attention is paid to differences in the artistic interpretation of the same motive of social and personal resistance. Also, for the first time, the connection of the resistance motive with the artistic conflicts of the plays of the collections “Maidan. Before and after” and “Labyrinth of ice and fire” is retraced. The material can be used for further in-depth research on this topic, such as the study of texts of epic genres about the Maidan and even poetry collections.
40
Đozić, Adib. "Identity and shame – How it seems from Bosniaks perspective. A contribution to the understanding of some characteristics of the national consciousness among Bosniaks". Historijski pogledi 4, n.º 5 (31 de maio de 2021): 258–88. http://dx.doi.org/10.52259/historijskipogledi.2021.4.5.258.
Texto completo da fonteResumo:
The relationship between identity and national consciousness is one of the important issues, not only, of the sociology of identity but of the overall opinion of the social sciences. This scientific question has been insufficiently researched in the sociological thought of Bosnia and Herzegovina, and with this paper we are trying to actualize it. Aware of theoretical-methodological and conceptual-logical difficulties related to the research problem, we considered that in the first part of the paper we make some theoretical-methodological notes on the problems in studying this phenomenon, in order to, above all, eliminate conceptual-logical dilemmas. The use of terms and their meaning in sociology and other social sciences is a very important theoretical and methodological issue. The question justifiably arises whether we can adequately name and explain some of the “character traits” of the contemporary national identity of the Bosniak nation that we want to talk about in this paper with classical, generally accepted terms, identity, consciousness, self-awareness, shame or shame, self-shame. Another important theoretical issue of the relationship between identity and consciousness in our case, the relationship between the national consciousness of Bosniaks and their overall socio-historical identity is the dialectical relationship between individual and collective consciousness, ie. the extent to which the national consciousness of an individual or a particular national group, political, cultural, educational, age, etc., is contrary to generally accepted national values and norms. One of the important factors of national consciousness is the culture of remembrance. What does it look like for Bosniaks? More specifically, in this paper we problematize the influence of “prejudicial historiography” on the development of the culture of memory in the direction of oblivion or memory. What to remember, and why to remember. Memory is part of our identity. The phrase, not to deal with the past but to turn to the future, is impossible. How to project the future and not analyze the past. On the basis of what, what social facts? Why the world remembers the crimes of the Nazis, why the memory of the Holocaust and the suffering of the Jews is being renewed. Which is why Bosniaks would not remember and renew the memory of the genocides committed against them. Due to the Bosniak memory of genocide, it is possible that the perpetrators of genocide are celebrated as national heroes and their atrocities as a national liberation struggle. Why is the history of literature and art, political history and all other histories studied in all nations and nations. Why don't European kingdoms give up their own, queens and kings, princesses and princes. These and other theoretical-methodological questions have served us to use comparative analysis to show specific forms of self-esteem among Bosniaks today. The concrete socio-historical examples we cite fully confirm our hypothesis. Here are a few of these examples. Our eastern neighbors invented their epic hero Marko Kraljevic (Ottoman vassal and soldier, killed as a “Turkish” soldier in the fight against Christian soldiers in Bulgaria) who killed the fictional Musa Kesedzija, invented victory on the field of Kosovo, and Bosniaks forgot the real Bosniak epic heroes , brothers Mujo and Halil Hrnjic, Tala od Orašac, Mustaj-beg Lički and others, who defended Bosniaks from persecution and ethnic cleansing in the Bosnian Krajina. Dozens of schools in Bosnia and Herzegovina have been named after the Serbian language reformer, the Serb Vuk Stefanović Karađić (1787-1864), who was born in the village of Tršić near Loznica, Republic of Serbia. Uskufije (1601 / 1602.-?), Born in Dobrinja near Tuzla. Two important guslars and narrators of epic folk songs, Filip Višnjić (1767-1834) and Avdo Medjedović (1875-1953), are unequally present in the memory and symbolic content of the national groups to which they belong, even if the difference in quality is on the side of the almost forgotten. Avdo Medjedovic, the “Balkan Homer”, is known at Harvard University, but very little is known in Bosnia and Herzegovina. And while we learned everything about the murderer Gavril Princip, enlightened by the “logic of an idea” (Hannah Arendt) symbolizing him as a “national hero”, we knew nothing, nor should we have known, about Muhamed Hadžijamaković, a Bosnian patriot and legal soldier, he did not kill a single pregnant woman , a fighter in the Bosnian Army who fought against the Austro-Hungarian occupation of Bosnia and Herzegovina in 1878. When it comes to World War II and the fight against fascism are full of hero stories. For one example, we will take Srebrenica, the place of genocidal suffering of Bosniaks. Before the war against Bosnian society and the state 1992-1995. in Srebrenica, the elementary school was called Mihajlo Bjelakovic, a partisan, born in Vidrići near Sokolac. Died in Srebrenica in 1944. The high school in Srebrenica was named Midhat Hacam, a partisan born in the vicinity of Vares. It is not a problem that these two educational institutions were named after two anti-fascists, whose individual work is not known except that they died. None of them were from Srebrenica. That's not a problem either. Then what is it. In the collective memory of Bosniaks. Until recently, the name of the two Srebrenica benefactors and heroes who saved 3,500 Srebrenica Serbs from the Ustasha massacre in 1942, who were imprisoned by the Ustashas in the camp, has not been recorded. These are Ali (Jusuf) efendi Klančević (1888-1952) and his son Nazif Klančević (1910-1975). Nothing was said about them as anti-fascists, most likely that Alija eff. Klančević was an imam-hodža, his work is valued according to Andrić's “logic” as a work that cannot “be the subject of our work” In charity, humanitarian work, but also courage, sacrifice, direct participation in the fight for defense, the strongest Bosniaks do not lag behind Bosniaks, but just like Bosniaks, they are not symbolically represented in the public space of Bosnia and Herzegovina. We had the opportunity to learn about the partisan Marija Bursać and many others, but why the name Ifaket-hanuma Tuzlić-Salihagić (1908-1942), the daughter of Bakir-beg Tulić, was forgotten. In order to feed the muhadjers from eastern Bosnia, Ifaket-hanum, despite the warning not to go for food to Bosanska Dubica, she left. She bravely stood in front of the Ustashas who arrested her and took her to Jasenovac. She was tortured in the camp and eventually died in the greatest agony, watered and fried with hot oil. Nothing was known about that victim of Ustasha crimes. Is it because she is the daughter of Bakir-beg Tuzlić. Bey's children were not desirable in public as benefactors because they were “remnants of rotten feudalism”, belonging to the “sphere of another culture”. In this paper, we have mentioned other, concrete, examples of Bosniak monasticism, from the symbolic content of the entire public space to naming children.
41
Suleiman, Elia. "The Occupation (and Life) Through an Absurdist Lens". Journal of Palestine Studies 32, n.º 2 (1 de janeiro de 2003): 63–73. http://dx.doi.org/10.1525/jps.2003.32.2.63.
Texto completo da fonteResumo:
Elia Suleiman, born in Nazareth in 1960, is the first Palestinian filmmaker to be selected for the "official competition" of the Cannes International Film Festival: his Divine Intervention: A Chronicle of Love and Pain was not only one of the twenty-one films out of 939 entries chosen for the fifty-fifth festival in May 2002, it also won the Jury Prize and the Interna tional Critics Prize. Suleiman had already come to the attention of the 2001 Cannes Festival, where his short Cyber Palestine was shown at the "Directors' Fortnight." Though without formal training, Suleiman has been winning prizes since his first film, a short entitled Introduction to the End of an Argument, won the award for best experimental documentary-USA in 1991. This was followed by his 1992 short Homage by Assassination, which won a Rockefeller Prize. By the time he made his first full-length movie, Chronicle of a Disappearance (which won the prize for the best first-feature at the 1996 Venice International Film Festival), his style was already well developed: a progression of sketches——witty, surreal, ironic, often devastating——and a virtual absence of narrative; in the case of Chronicle, a main character (a filmmaker called E.S., played by Suleiman himself) appears in a number of the episodes, most of which shed harsh light on life in Nazareth, but his presence seems more accidental than part of a storyline. Film critic Stanley Kaufman of the New Republic called Chronicle of a Disappearance "a film of the absurd. If Ionesco had been a Palestinian and a filmmaker, he might have made it." While his recent film, Divine Intervention, is still very much an assemblage of vignettes, it does nonetheless have a semblance of narrative: a "central character" (again, a filmmaker named E.S., again played by Suleiman) shuttles between his hometown of Nazareth, where his father, beset by business woes, has a heart attack and lies dying; his apartment in East Jerusalem, where he is working on a screenplay; and a checkpoint between East Jerusalem and Ramallah, where he holds tender but wordless meetings in a parked car with his lover, a Ramallah woman hemmed in by borders and closures. In one of the checkpoint scenes that combines the visual beauty, whimsy, humor, and satire characteristic of the film, the hero inflates a large red balloon bearing the smiling visage of Yasir Arafat and releases it, creating havoc among the soldiers. Taking advantage of the ensuing confusion, the hero and his lover manage to speed through the checkpoint, while the camera follows the balloon as it soars over the landscape toward Jerusalem, floating over the rooftops of the Old City and past the Church of the Holy Sepulcher to a light on the Dome of the Rock. When Divine Intervention won the Jury Prize at Cannes, the New York Times (27 May 2002) called it "a Keatonesque exploration of the large and small absurdities of Palestinian life under occupation." And indeed, despite the humor, moments of tenderness, and laugh-out-loud sight gags, the film presents an all-too-realistic picture, pitiless and meticulous, of the devastating impact of occupation on Palestinian society both in Israel and in the occupied territories. Suleiman is witty and light, but dead serious; allergic to preaching, propaganda , and clichéé, but highly political. The underlying grimness of the film is relieved not only by the humor but by resort to fantasy: the hero, cruising a long a highway, casually tosses an apricot pit out of his car window and a tank blows up; a stunningly beautiful woman (the hero's lover) strides through a checkpoint, mesmerizing the soldiers with her fierce beauty, and a military watchtower collapses. The most elaborate such sequence is the spectacular "Ninja scene," a violently beautiful and stylized choreography wherein the same woman is imagined as a guerrilla fighter who dispatches (seemingly bloodlessly) a whole phalanx of Israeli sharpshooters who have been firing at her effigy in a shooting range. The meaning of the images, whose connectedness one to the next is not always immediately apparent, can leave the spectator temporarily puzzled; the New York Times of 7 October 2002 called them "cinematic riddles and visual puns, delivered in elegant deadpan." The cumulative impact, however, is clear, and the images themselves linger long after the film ends. New York Times critic A. O. Scott, while noting the film's "appearance of randomness," adds that there is "an oblique, elegant sense of structure here" and that "the interlocking series of setups, punch lines and non sequiturs add up to something touching, provocative, and wonderfully strange." Divine Intervention currently is being shown throughout Europe and will be opening in the Middle East and Israel in January 2003. Shown at the New York Film Festival in October 2002, it will open commercially in the United States in January. Suleiman, in Paris for the opening of his film, was interviewed by Linda Butler, associate editor of JPS, on 26 September 2002.
42
Kusuma Wardhani, Yanuaresti, Yudhanita Pertiwi e Hardono. "Fighting Against Deforestation: Ecofeminism in Luh Ayu Manik Mas Hero of the Forests". International Journal of Educational and Life Sciences 2, n.º 5 (22 de maio de 2024): 364–75. http://dx.doi.org/10.59890/ijels.v2i5.1832.
Texto completo da fonteResumo:
Deforestation is a serious threat for all creatures on earth. As its impacts may destroy various sectors, some women concern to the issue of that environmental damage. They bring the spirit of ecofeminism. This paper aims to discuss ecofeminism concept in a pictorial teen story Luh Ayu Manik Mas: Hero of the Forests. Based on its setting, Luh Ayu Manik as the Balinese girl, fights against deforestation and tries to do reforestation in Bali. Her sense of nurturing for environment is inspired by ecofeminism and Balinese environmental values. This analysis uses ecofeminism concept by Vandana Shiva and qualitative methods. The results are that patriarchy tends to triggers deforestation, while as a young lady, Luh Ayu Manik struggles to eradicate deforestation. She proves that woman is able to empower herself to fight against patriarchy that harm the environment.
43
Bartels, B. E., e N. Chang. "Future fighter fable: a day in the life of a future fighter-how do we get there from here?" IEEE Aerospace and Electronic Systems Magazine 9, n.º 1 (janeiro de 1994): 6–11. http://dx.doi.org/10.1109/62.257133.
Texto completo da fonte
44
David Martínez. "Carlos Montezuma's Fight against “Bureauism”: An Unexpected Pima Hero". American Indian Quarterly 37, n.º 3 (2013): 311. http://dx.doi.org/10.5250/amerindiquar.37.3.0311.
Texto completo da fonte
45
David Martínez. "Carlos Montezuma's Fight against “Bureauism”: An Unexpected Pima Hero". Studies in American Indian Literatures 25, n.º 2 (2013): 311. http://dx.doi.org/10.5250/studamerindilite.25.2.0311.
Texto completo da fonte
46
Martínez, David. "Carlos Montezuma’s Fight against “Bureauism”: An Unexpected Pima Hero". American Indian Quarterly 37, n.º 3 (2013): 311–30. http://dx.doi.org/10.1353/aiq.2013.0027.
Texto completo da fonte
47
Horstmann. "An American Hero: Faith-Based Emergency Health Care in Karen State, Myanmar and Beyond". Religions 10, n.º 9 (26 de agosto de 2019): 503. http://dx.doi.org/10.3390/rel10090503.
Texto completo da fonteResumo:
This article examines the vastly expanded mobility of displaced Karen villagers in the evangelical humanitarian movement, the Free Burma Rangers. This builds on ethnographic fieldwork on humanitarian cultures in the Thai-Burmese borderlands conducted since 2007 with a Thai research team and funded by Max Planck Institute for the Study of Religious Diversity. While refugees are too often presented as victims, the article argues that by joining the mission, the Karen freedom fighters become ambassadors of a political ideology and evangelism. Bringing Christianity with them from their displaced homes, displaced Karen meet the evangelical humanitarian organization in the Karen hills or in the Thai refugee camps, train with them, and supply the villagers left behind with emergency health care and religious messages. Sponsored by American evangelical churches, the US military, and resettled Karen communities in the West, the freedom fighters of the Free Burma Rangers mobilize people and resources all over the globe. Recently, they have expanded their operations beyond Myanmar to places as far as Syria, Iraq and South Sudan, thus getting involved in what it presents as a global struggle between good and evil.
48
Бурцев, А. А. "Phenomenon of P. A. Oyunsky in the Context of World Literature". Эпосоведение, n.º 2(14) (28 de junho de 2019): 73–81. http://dx.doi.org/10.25587/svfu.2019.14.32182.
Texto completo da fonteResumo:
Актуальность проблемы обусловлена ростом интереса к личности и творческому наследию П. А. Ойунского в современную эпоху. Тем более что в изучении его творчества остаются нерешенные вопросы. В частности, не учитывается его эволюция как мыслителя и художника слова, что приводит к идеологизированному подходу к нему только как пламенному борцу и буревестнику революции. Ранний П. А. Ойунский представлял собой тип ангажированного художника. Его поэзия была неразрывно связана с общественнополитической деятельностью. Устанавливая советскую власть в Якутии, участвуя в гражданской войне, создавая Песню свободы и Завещание орла, он совершенно искренне верил в то, что служил идеалам социальной справедливости и интернационализма. Но ему были чужды индивидуалистические настроения, идеи вождизма и трибунства. В ранних стихотворениях поэт оперировал понятиями народ, труженики, бедный люд, его лирический герой носил собирательный, обобщенный характер. В произведениях позднего П. А. Ойунского, например, повести Кудангса Великий и рассказе Александр Македонский, явственно проступают оппозиционные идеи по отношению к тоталитарному режиму. Далее, сохраняется устаревшая традиция замкнутого изучения его наследия в рамках лишь якутской литературы. Поэтому целью нашей работы является рассмотрение произведений П. А. Ойунского на широком фоне мировой литературы. Воссозданный им монументальный эпос олонхо Нюргун Боотур Стремительный имеет типологические схождения не только с эпическими поэмами тюркских народов, но и с такими памятниками, как кельтские саги или древнескандинавская Старшая Эдда. А в драматической поэме Красный шаман и повестипредании Кудангса Великий ощущаются традиции трагедий В. Шекспира Гамлет и Макбет. Кроме того, П. А. Ойунский является одним из создателей якутской школы художественного перевода. Все эти обстоятельства подтверждают закономерность постановки проблемы П. А. Ойунский и мировая литература. The topicality of problem caused bythe increased interest in the person and creative legacy of Platon Oyunsky in the modern time. The study of his works contains open questions. In particular, his evolution as a thinker and writer is often forgotten, which leads to an ideological approach to him as merely an ardent fighter and messenger of the revolution. Early Oyunsky represented the agendadriven type of a writer. His poetry was connected with social and political activity. Establishing Soviet power in Yakutia, taking part in civil war, creating The Song of Freedom and The Eagles Will, he truly believed in ideals of social justice and internationalism. Meanwhile, he avoided individualism, ideas of autocracy and tribune. In his early works, there were concepts of people, workers, poor people, his lyrical hero had collective, generalized character. There are ideas of opposition towards totalitarianism in P. Oyunskys later works Kudangsa, the Great and Alexander, the Great. Another thing is there remains an obsolete tradition to limit the studies of his heritage within Yakut literature only. So far, the aim of our article is to study P. Oyunskys works against the wider background of world literature. Recreated by him monumental epic olonkho Nurgun Bootur, the Swift has typological similarities not only with epic poems of the Turk people, but also with such ancient manuscripts as Celtic sagas or Skandinavian Senior Edda. At the dramatic poem Red Shaman and the legend story Kudangsa, the Great traditions of Shakespeares tragedies Hamlet and Macbeth are felt. Besides, P. Oyunsky is one of founders of Yakut school of literary translation. All these arguments confirm the relevance of the topic P. Oyunsky and world literature.
49
Castro, Renata Rodrigues Teixeira de, João Giffoni da Silveira e Roberta Rodrigues Teixeira de Castro. "Exercise Training: A Hero that Can Fight two Pandemics at Once". International Journal of Cardiovascular Sciences 33, n.º 3 (2020): 284–87. http://dx.doi.org/10.36660/ijcs.20200083.
Texto completo da fonte
50
Angel Agustin Darmawan e Marudut Bernadtua Simanjuntak. "Analysis Of Bilal's Characteristics In Bilal's Film: A New Breed Of Hero By Ayman Jamal: Don't Have To Be Noble To Give Meaning". International Journal of Education and Literature 1, n.º 1 (22 de abril de 2022): 77–89. http://dx.doi.org/10.55606/ijel.v1i1.30.
Texto completo da fonteResumo:
Bilal: A New Breed of Hero is the first feature-length animated film from the United Arab Emirates and a Barajoun Entertainment film to win the award for Best Inspiring Movie in the Animation category. Bilal bin Rabbah himself was one of the companions of the Prophet Muhammad. Even so, this film was made by not highlighting Islamic studies in depth so that it can be accepted by various groups, not only Muslims. This film tells the story of Bilal's struggle from childhood to old age to be able to free himself and other people from Umayyah slavery. Bilal struggles for freedom, truth and justice which is impossible for him because he has been a slave all his life without being able to put up a fight. This study aims to determine the characteristics of the main character in the film Bilal: A New Breed Of Hero, namely Bilal bin Rabbah who fights for human independence from other human possessions in the path of truth, namely the teachings of Islam, and fights for the rights that should be owned by every human being. man. By using descriptive qualitative research methods, the existing data were collected by watching and recording the main points of the film Bilal: A New Breed of Hero. The results of this study indicate that the characteristics possessed by Bilal Bin Rabbah are: (1)Courageous (2)Never give up (3)Have a high fighting spirit (4)Firm stance (5)Patience (6)Forgiving (7)Ready to face risk (8)Loves to Help (9)Hard Worker (10)Cares for the Surroundings.