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Journal articles on the topic 'Biography – Popular works'
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1
Altunbay, Müzeyyen. "Using Literature in Bibliotheraphy: Biography Sampling." Journal of Education and Training Studies 6, no. 11 (October 9, 2018): 201. http://dx.doi.org/10.11114/jets.v6i11.3593.
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Bibliotherapy is consisted of a combination of the Greek “biblion (book)” and “therapeia (therapy-healing)” which have become popular since the 20th century as one of the alternative therapy methods. It is used to make individuals identify themselves with the works they read through works of high literary and aesthetic value and make them powerful individuals in the spiritual direction by producing solutions to the problems they experience in this way. In other words, bibliotherapy can also be defined as bringing the right books to the individual at the right time. That is, the history of accepting the idea that books are good for man is very old. In this study, the importance of using biographies will be explained in one of the important alternative therapy methods, bibliotherapy. There are some criteria in the selection of books because they are the most important materials that form the basis of bibliotherapy. As it is known, the process is three dimensions as the advisee, book preference and consultant. However, it is not possible to use every work in bibliotherapy. It is important to use the works that are high in reality dimension and keeping a mirror on the problems of the individual in bibliotherapy. This process includes the works that will develop the imaginary world of the individual, as well as the works suitable for real life. As is known, the common point in biographies is not only the success that the person who wrote the biography has achieved, but also this person's struggle for reaching his goal is his patience and perseverance. As a result, in the process of bibliotherapy, reading the biographies that will increase the morale and motivation of the individual and develop self-confidence will contribute positively to the person. Moreover, the preference of the biographies of the positive role-model in the society will be the example for the individual.
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Groń, Ryszard. "Biograf Aelreda z Rievaulx i jego źródła." Vox Patrum 64 (December 15, 2015): 151–70. http://dx.doi.org/10.31743/vp.3710.
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The article was written to illustrate the difficulties we encounter when attempting to convey the biography of Aelred, a famous 12th century English abbot of Rievaulx. The difficulties are linked with the fact that Aelred lived in medieval times and his biography was written in the form of a hagiography. This style of writing was very popular in the middle ages and usually served to emphasize the holiness of a person’s life, i.e. to demonstrate an exemplary life of Christian virtues rather than as an attempt to concentrate on biographical details. The latter rather served as points of reference to the person in question and were expressed in hagiographic style, i.e. with focus on models of behavior, achievements and miracles that fit the style, based on examples taken from the Bible and the lives of other popular saints. Written in monastic circles, such works took on the form of biographies of saints and were often written to satisfy a specific cause (T.J. Heffernan). This is the type of biography we are dealing with here. When attempting to convey Aelred’s biography in the contemporary meaning of the term, we must first sift through its hagiographic form and supplement information contained therein with other historical and literary sources. In our case, the attempt was carried out in six points, with focus on: the primary source of Aelred of Rievaulx’s biography, Vita Aelredi (1); its author, Walter Daniel (2); the reasons why this work was written (3); its hagiographic form (4); the work’s internal sources, i.e. sources linked with the author’s own circles (5); as well as outside historical and literary sources of information concerning Aelred (6).
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Jubinville, Ginette. "Pour en finir avec les Monomanes de Géricault : considérons leur rôle dans la construction du mythe de l’artiste." RACAR : Revue d'art canadienne 41, no. 1 (September 30, 2016): 62–75. http://dx.doi.org/10.7202/1037555ar.
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Théodore Géricault’s Monomanes (Portraits of the Insane ; 1820s) were rediscovered in 1863, just four years before his first biography was published. This article examines this previously unstudied conjuncture in order to put to rest some of the myths surrounding these works and to show that their circulation contributed to the discourse on Géricault that was taking shape at the time. These five portraits have been described as displaying a duality that places them between art and psychiatry, between science and popular culture. This article argues that this resulted from the amalgamation of two distinct understandings of monomania : the scientific one at the time of their production and the popular one at the time of their rediscovery.
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BENTLEY, MICHAEL. "VICTORIAN POLITICS AND THE LINGUISTIC TURN." Historical Journal 42, no. 3 (September 1999): 883–902. http://dx.doi.org/10.1017/s0018246x99008560.
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This article subjects a variety of works on nineteenth-century politics to critical analysis, focusing on recent work in biography, popular politics, and on those works that have shown an interest in post-structuralist approaches. Mostly it examines texts produced between 1993 and about 1997 with a view to sensing an historiographical mood. Although the argument urges an open-minded reception to the linguistic turn in historical work, it brings the work of some of its adherents – perhaps especially James Vernon – under critical scrutiny and concludes that a price has been paid for the attempt at constructing a ‘cultural politics’. In particular the article expresses alarm at the apparent incoherence and sub-literacy of some post-structural statements.
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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
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Tatari, Eren. "Islam in Modern Turkey." American Journal of Islam and Society 25, no. 1 (January 1, 2008): 117–19. http://dx.doi.org/10.35632/ajis.v25i1.1495.
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Sukran Vahide’s Islam inModern Turkey: An Intellectual Biography of BediuzzamanSaid Nursi is a timely contribution to the study of one of the most prominent Islamic thinkers of the twentieth century. This comprehensivestudy on Nursi’s life (1876-1960) and works would be appropriate for use ingraduate and undergraduate courses in religious, Islamic, andMiddle Easternstudies departments.Vahide fills an important gap in the study of Nursi and his works, whichhas become increasingly popular among western scholars in recent decades.Prior to its publication, only a few brief biographies of Nursi existed, andthose focused solely on presenting a chronological account of his life. Hencethis book’s most significant contribution is, as pointed out in the subtitle, thefact that it is an “intellectual biography.” Although Vahide organizes thebook into sections that correspond with the chronological developments inhis life, the book is divided into three parts that denote the significant intellectualphases (also pointed out by Nursi himself in his writings): “The OldSaid,” “The New Said,” and “The Third Said.” In this way, the author situatesNursi’s writings and ideas, which have inspired the most prominent faithmovement in modern Turkey (approximately 7 million followers), into thehistorical context in which they were developed and transmitted to others ata much needed time in Turkish history ...
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Daija, Pauls. "Kārlis Hūgenbergers 19. gadsimta sākumā latviešu literārās kultūras vēsturē." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 137–54. http://dx.doi.org/10.37384/aplkp.2021.26-2.137.
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In the article, the literary works of Baltic German writer Carl Hugenberger have been explored. Anthology of his poetry translations, “Derrigs laika kaweklis” (Useful Pastime, I–II, 1826–1827), has been analysed. The anthology was significant in the emancipation of Latvian literary culture and liberation from moral didacticism as well as the development of the self-sufficient aesthetic value of literature. Thus, the anthology prepared the way for the formation of Latvian national literature in the mid-19th century. Special attention has been turned towards Hugenberger’s translations of poems by Johann Wolfgang Goethe and Friedrich Schiller. Besides, the evaluation and reception of Hugenberger’s works have been explored. The article concludes that despite the innovative role and poetic achievements of Hugenberger’s poetry, it did not gain popularity among wider circles of the Latvian reading public and met criticism regarding the shortcomings in the translation techniques that can be explained by the limits of the underdeveloped Latvian language at the time. The most important episodes in Hugenberger’s biography have been outlined as well as his religious hymns and works of popular enlightenment, including translations of “Schillings-Bücher des Rauhen Hauses”, a book series of German Inner mission, works by Jeremias Gotthelf, August Kotzebue, Gottfried August Bürger et al. Special attention has been paid to previously unidentified originals of Hugenberger’s translations – works by Matthias Claudius, Johann Hinrich Wichern, Heinrich Alexander Seidel, and Adolph Krüger as well as previously underexamined partial translation of Johann Peter Hebel’s “Allemanische Gedichte”. The literary works of Hugenberger have been interpreted within the context of the literary praxis of the late popular enlightenment in the Baltics.
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Fenlon, Dermot. "Elite and Popular Religion: The Case of Newman." Studies in Church History 42 (2006): 372–82. http://dx.doi.org/10.1017/s0424208400004083.
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Among the signal insights of twentieth-century scholarship was the recognition that early Christianity accorded personal importance to the plebs. First, Eric Auerbach analysed the humble speech forms of early Christianity, contrasting them with the literature of learned pagans. The point was developed by Ramsay MacMullen in an important essay entitled ‘Sermo humilis’. Arnaldo Momigliano applied these insights to the theologians, historians and hagiographers of the fourth and fifth centuries. He showed how Augustine, Jerome, Socrates, Sozomen, and Theodoret of Cyr succeeded, as pagan intellectuals had not succeeded, in ‘abolishing the internal frontiers between the learned and the vulgar’. Finally, Peter Brown, in a series of brilliant works from The Cult of the Saints to his revised biography of Augustine, supplied a means of discerning in the practice of universal baptism the ‘antidote’ to the exaggerations of fourth-century ascetical elitism. Augustine imparted to the Western Middle Ages a confidence in the power of sacramental grace as efficacious not only for the ascetic few, but as communicating to the many a capacity for growth in charity, purity, and prayer. Such a perspective on the religion of the many bids adieu to Gibbon’s story of ‘philosophy’ collapsing into ‘barbarism and religion’; to Hume’s account of the superstitious and the credulous; and to Henry Hart Milman’s Romantic brand of Liberal Anglicanism as marked by ‘condescension’ towards ‘popular religion’ occluding ‘the thought processes of the average man’; a habit of mind to which Peter Brown surprisingly appended the name of Newman.
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Ue, Tom. "From Whitman to Hugo: An interview with Brian Selznick." Book 2.0 10, no. 2 (December 1, 2020): 175–85. http://dx.doi.org/10.1386/btwo_00028_7.
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‘Walt Whitman loved words’. So begins Barbara Kerley’s and Brian Selznick’s Walt Whitman: Words for America (2004), a biography of the American poet for young readers that has been recognized as a Robert F. Sibert Honor Book. Kerley and Selznick trace the poet from his beginnings as a printer’s apprentice to his volunteer work as a nurse during the American Civil War; and from the young Walt poring over the pages of Arabian Nights and Ivanhoe to his own creative output being interpreted as the voice of his nation. Like all of Selznick’s books, Walt Whitman is illustrated with precise, evocative drawings for all ages. The New York Times bestselling author and illustrator returns to the poet with his latest, Live Oak, with Moss (2019). Among Selznick’s many other popular books for children are The Invention of Hugo Cabret (2007) and Wonderstruck (2011) (covers available at https://www.thebrianselznick.com/books.htm). These two works have now been adapted into award-winning films by Martin Scorsese (2011) and Todd Haynes (2017), respectively.
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Strashnov, S. L. "Twice lived youth of Yaroslav Smelyakov." Voprosy literatury, no. 5 (November 9, 2019): 158–86. http://dx.doi.org/10.31425/0042-8795-2019-5-158-186.
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The article discusses the interaction of Y. Smelyakov’s (1913–1972) poetry with mass consciousness and describes the major events of the poet’s biography. Milestones on his literary path have been reconstructed, as has his evolution from a carefree lyrical hero into a confident author. The analysis of Smelyakov’s poetry is supplemented with numerous references to everyday Soviet realia. Especially detailed are descriptions of his debut poems, but the author also takes into account the latest interpretation of the poet’s youthful years in the early 1930s. The context of 1920s–1970s Soviet literature is a pivotal element of the analysis. In particular, the author suggests mutual affinity of Smelyakov’s works with the genre of popular sentimental songs, the works of proletarian poets, and the Sixtiers’ poetry. The article recalls the polemics around Smelyakov’s work, especially in the years before the war in 1941 and in the post-Soviet era. Soviet critics often reproached Smelyakov for excessive lyricism, attention to mundane details, and sentimentalism.
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MOJADDEDI, JAWID A. "Getting drunk with Abū Yazīd or staying sober with Junayd: the creation of a popular typology of Sufism." Bulletin of the School of Oriental and African Studies 66, no. 1 (February 2003): 1–13. http://dx.doi.org/10.1017/s0041977x03000016.
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The first major works of Sufism each systematically define the terms for drunkenness (sukr) and sobriety (sahw). This article attempts to trace the changes in the definitions of these terms in the tenth- and eleventh-century Sufi manuals, from the oldest example, Abū Nasr al-Sarrāj's (d. 378/988) Kitāb al-Luma‘ to ‘Alī Hujwīrī's (d. c. 467/1074) Kashf al-mahjūb, and to consider their implications. Hujwīrī provides an extensive debate about the relative value of the two experiences to which the terms refer, and associates arguments on either side with Abū Yazīd al-Bastāmī (d. 261/874–5?) and Abū l-Qāsim al-Junayd (d. 297/910), respectively. While the latter association stands out as innovative because previous commentators had not mentioned these individuals as exemplars of drunkenness and sobriety, it is argued here that Hujwīrī's choice was not entirely arbitrary, but a consequence of the dynamic nature of both biography and the definition of technical terminology.
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WRIGGLE, JOHN. "Jazzing the Classics: Race, Modernism, and the Career of Arranger Chappie Willet." Journal of the Society for American Music 6, no. 2 (May 2012): 175–209. http://dx.doi.org/10.1017/s175219631200003x.
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AbstractThe American popular music tradition of “jazzing the classics” has long stood at the intersection of discourses on high and low culture, commercialism, and jazz authenticity. Dance band arrangers during the 1930s and 1940s frequently evoked, parodied, or straddled these cultural debates through their manipulations of European classical repertoire. This article examines Swing Era arranging strategies in the context of prevailing racial essentialisms, conceptions of modernism, and notions of technical virtuosity. The legacy of African American freelance arranger Chappie Willet, and his arrangement of Beethoven's Piano Sonata, op. 13 (“Pathétique”) for the black dance band of Jimmie Lunceford, suggests that an account of the biography and artistic voice of the arranger is critical to understanding the motivations behind these hybrid musical works.
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Parlaungan, Parlaungan, Haidar Putra Daulay, and Zaini Dahlan. "PEMIKIRAN IBNU SINA DALAM BIDANG FILSAFAT." Jurnal Bilqolam Pendidikan Islam 2, no. 1 (July 15, 2021): 79–93. http://dx.doi.org/10.51672/jbpi.v2i1.51.
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The aims of this study are (1) to find out the biography of the Islamic philosopher, Ibn Sina. (2) To know the famous works of Ibn Sina. (3) To find out how the philosophical views of Ibn Sina. Ibn Sina's full name is Abu Ali Husayn bin Abdullah bin Hasan bin Ali bin Sina. He was born in the month of Safar 370 H or August-September 980 AD in Afsyanah, a small town in the current Uzbekistan region. He died in the city of Hamadan at the age of 58 to coincide in the year 428 AD or 1037 H. Ibn Sina has written a number of 276 works, both in the form of letters, books, and encyclopedias which he wrote during his short life. His most popular works are: First, Kitab Al-Qanun Fith Thib (Canon of Medicine). Second, the Book of Al-Juzah Ibn Sina Ath-Tibbiyah, Third, An-Najat, Fourth, Al-Isign wat-Tanbiat, Fifth, Al-Hikmat al-Masyriqiyyah. In the field of philosophy, Ibn Sina divides philosophy into three parts: (1) Philosophy of Emanation or Al-Faidh, (2) Philosophy of Being/Divinity and (3) Philosophy of Soul/Breath.
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Priyatna, Aquarini. "Writing a Feminine Subject: The Auto/Biographical Narratives of Indonesian Female Celebrities." SAGE Open 11, no. 3 (July 2021): 215824402110326. http://dx.doi.org/10.1177/21582440211032660.
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Situated in popular culture, celebrity auto/biography becomes both space and instrument for self-representation that illuminates the issues of public/private, global/local, normative/disruptive, and fact/fiction dichotomies. This article works on five auto/biographies of Indonesian female celebrities published in the 2000s, namely, Lenny Marlina, Krisdayanti, Tiara Lestari, Yuni Shara, and Dorce Gamalama. By conducting a close reading of the texts and how the celebrities present their lives, the article seeks to argue that the auto/biographies represent the complexity of Indonesian celebrity femininities that are culturally intertwined. The article also shows that the auto/biographies contribute to establishing their celebrity status and how they present their lives as exemplary. Finally, this study aims at contributing to the understanding of how celebrity auto/biographies complicate the notion of the feminine within Indonesian celebrity culture.
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Berger, Shulamith. "Moyshe Levin (Ber Sarin) of Yung-Vilne and His Solo Publishing Venture for Children." Judaica Librarianship 20, no. 1 (December 31, 2017): 100–133. http://dx.doi.org/10.14263/2330-2976.1281.
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Moshe [Moyshe] Levin, talented author and artist, was better known by his pseudonym Ber Sarin, the pen name he used when he wrote short Yiddish books in rhyme for children who were just beginning to read. He wrote the lively texts, illustrated them in color and black and white, and self-published many of them in Vilnius (Vilna) Lithuania in the 1930s. The books were popular and successful with teachers and children. He was a graduate of the Vladimir Medem Teachers’ Seminary, a teacher in the TSYSHO school system, and a member of Yung-Vilne .2017 is the 75th anniversary of Levin’s murder at the hands of the Nazis. Levin left behind a wife and daughter who also perished during the Holocaust. Levin’s literary legacy, the books themselves, survived in limited numbers in only a handful of libraries; some are now available on the web. This article includes a brief biography of Moshe ]Moyshe] Levin (Ber Sarin), an overview and discussion of his work for children, information on the current whereabouts of his works, and a bibliography with brief annotations of the works the author was able to view.
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Alibekova, Patimat M., and Rosa S. Basirova. "THE LIFE AND WORK OF A PROMINENT SCHOLAR AND EDUCATOR ISMAILDIBIR FROM SHULANI." History, Archeology and Ethnography of the Caucasus 16, no. 4 (December 18, 2020): 917–39. http://dx.doi.org/10.32653/ch164917-939.
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Ismaildibir from Shulani – a scholar-enlightener who contributed greatly to the intellectual sphere of Dagestan in the second half of the 19th – early 20th centuries. He was part of the Dagestan cohort of scholars that produced a substantial layer of spiritual literature, popularized Islamic knowledge and made a significant contribution to the cultural heritage of the peoples of Dagestan. His life and work, as well as many other Dagestan scholars, theologians, educators, have been studied poorly.
With the aim of compiling the biographical portrait of the scholar and studying his bibliographical heritage, the authors conducted a field trip to the village of Shulani, Gunibsky district of the Republic of Dagestan. We had an opportunity to meet Ismaildibir’s granddaughter, Bagzhat Alikhanova, and to study his private library.
Ismaildibir translated works of Arab scholars to the Avar language and published them in Muhammadmirza Mavraev’ typography in Temir-Khan-Shura. He also made copies of popular Arabic works due to having calligraphic handwriting. The paper gives a list of these works.
In 1996, a manuscript with Ismaildibir’s poems in the Avar language was returned from Turkey to Dagestan. During the trip to Shulani, we studied the aforementioned collection of poems. The paper provides the table of the collection’s contents and an annotation to his works.
As a result of the study, we managed to clarify and supplement the biography of the scholar. A list of his works was compiled, features of Ismaildibir’s creative heritage were extended. The introduction of the works of Ismaildibir from Shulani in the Avar language, written in the Ajam script, his translations of theological works of Arab scholars into the native Avar language is an essential contribution to the study of the history of spiritual literature and esthetic thought of the peoples of Dagestan.
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Tupčiauskaitė, Jūratė, and Radvilė Rimgailė-Voicik. "Professor Povilas Snarskis – Life Dedicated to the Research of Lithuanian Flora." Botanica 26, no. 1 (June 1, 2020): 101–8. http://dx.doi.org/10.2478/botlit-2020-0010.
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AbstractThe paper presents a brief biography of Professor Povilas Snarskis, and discusses the importance of his work for Lithuania. After defending PhD at Vytautas Magus University, P. Snarskis was able to collect invaluable data on the Lithuanian floristic diversity and distribution. He actively participated in the development of the Lithuanian higher education. In 1947, he became a professor and taught botany at Vilnius University and Vilnius Pedagogical Institute. During his professional career, P. Snarskis has published about 60 research and popular science works. He was a co-author of Flora of Lithuanian SSR and his three guides to native vascular plants still have their high value. The number of Snarskis’ herbarium specimens deposited at Vilnius University Herbarium (WI) and the Nature Research Centre, Institute of Botany Herbarium (BILAS) exceeds 20.000. P. Snarskis was an innovator, who used his logic and creativity, and constructed guidelines to achieve his goals in difficult historical times.
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Zagorodniuk, Igor. "An outstanding researcher of the fish fauna of Ukraine Anatoliy Shcherbukha (1935–2020)." GEO&BIO 2020, no. 19 (October 2, 2020): 148–56. http://dx.doi.org/10.15407/gb1914.
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A brief overview of the biography and scientific achievements of Anatoliy Shcherbukha — a prominent Ukrainian zoologist, museologist, collector, fish expert, developer of the Ukrainian fish nomenclature, and promoter of science. Biographical information reconstructed from a personal file found in the archives of the National Museum of Natural History NAS of Ukraine (NMNH), as well as some scientific works of the researcher are presented. An overview of his works, both articles and monographs, including reference books, scientific monographs, popular science publications, catalogues, textbooks, and identification keys is given. The entire creative path of the researcher was connected with the academic Zoological Museum, which was alternately part of the Institute of Zoology and the Central Museum of Natural History, NAS of Ukraine. The researcher went from a scientist who studied the fish fauna of a small river Psel to a prominent expert of the fish fauna of all types of water bodies of Ukraine, both natural and artificial, fresh and marine waters, aboriginal and alien components of fauna, rare and industrial fish species. The researcher's achievements in the development and approval of the Ukrainian nomenclature of fishes are also significant, including the definition of the central role of genus names, from which the names of both species and families and other taxa are formed. The zoological collection of the NMNH contains more than 2,000 fish specimens of 59 species collected by A. Shcherbukha. The researcher paid much attention to the promotion of scientific knowledge and authored two popular publications on fishes, each of which was republished. The five most cited works of the researcher are the monograph "Percomorpha" in the series "Fauna of Ukraine" (1982), the catalogue of NMNH collections "Lampreys and Fishes" (2003), the popular science book "Fishes of Our Waters" (1987), the scientific article “Fish fauna of Ukraine in retrospective and modern problems of its diversity conservation” (2004), and the reference book “The Ukrainian Nomenclature of Fishes of Ukraine” (2003). The last work of the researcher was "Key to Fishes of Continental Waters and Streams of Ukraine" written in collaboration with colleagues from other institutions (2020).
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Zipunnikova, Natalia, and Yuliya Nikolaevna Zipunnikova. "Fate of a scholar in the fate of a country (about the book “N. S. Nizhnik, S. Y. Dergileva State and Law in Theoretical-Legal Views of A. I. Elistratov: monography. – M.; Yurlitinform, 2017. – 376 p.” as about an invitation to ponder)." Genesis: исторические исследования, no. 3 (March 2020): 121–32. http://dx.doi.org/10.25136/2409-868x.2020.3.30535.
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This article discusses a monographic study dedicated to the prominent Russian legal scholar A. I. Elistratov (1822-1955), whose life and works fell on the different historical periods, including a tragic crisis time. The authors of the monograph N. S. Nizhnik, S. Y. Dergileva characterize the intellectual biography of the scholar and his sociopolitical activity in the context of establishment of the police-legal theory within the European and national educational scientific tradition. Subsequent changes in the attitude towards legal scholar and his scientific writings that were popular in Russia prior to the October Revolution are demonstrated through the prism of transformation of state-legal, political-ideological, socioeconomic, educational-scientific customs of the national culture. An effective reconstruction of the scientific biography of A. I. Elistratov became possible due to careful attention to the heritage of national police science and Soviet science of administrative law as a whole, as well as anthropocentric scenario of the conducted research. From the standpoint of historicism and anthropological approach, the peer reviews turns attention to functionality in the culture of complex mechanisms that ensure succession of the traditions. The new monographs demonstrates the importance and research prospects of the separate storylines related to the formation of scholar’s personality and his realization of scientific-pedagogical and sociopolitical activity, for example on the foreign business trips and participation in seminars on law, work of law communities in pre-October Russia, dynamism of educational and scientific activity of the first Soviet decades.
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Bowman, Rob. "Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown." Canadian University Music Review 17, no. 1 (March 12, 2013): 20–39. http://dx.doi.org/10.7202/1014691ar.
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The classification of different styles of North American popular music has often been problematic. This paper investigates some of the music referred to as rhythm and blues (r & b) in the late 1940s and early 1950s by specifically looking at the works of one of the music's leading practitioners of the time, Roy Brown. Brown recorded both jump and club blues between 1947 and 1955, placing fifteen records in the Top 20 of the Billboard rhythm and blues charts. For the purposes of this paper fifty-four of the seventy-four songs that Brown recorded in this period were analyzed with respect to structure, performing force, performance style, tempo, arrangement, bass lines, approach to the beat, rate of singing, vocal ornamentation, and lyric content and structure. Three main subdivisions were found within Brown's repertoire, all connected to social behaviour, namely, dance. In the process, a basic biography of Brown is provided and his influence on many subsequent rhythm and blues and rock and roll performers is contextualized.
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Atho`illah, Achmad. "NĀZIK AL-MALĀ`IKAH: Sepintas Biografi dan Pemikirannya tentang Puisi Bebas (Studi Tokoh Sastra Arab)." Adabiyyāt: Jurnal Bahasa dan Sastra 8, no. 1 (July 31, 2009): 95. http://dx.doi.org/10.14421/ajbs.2009.08105.
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This article aims to provide a short biography of Iraqi Arab poet, Nāzik al-Malā`ikah, and her thoughts about free verse (al-syi’r al-h} urr). In this paper, the writer applies her personal life history. The results of this article show that Nāzik is a popular figure in modern Arabic literature. She occupies a prominent position not only because of her innovative experimental poetry, but also because of her critical theories. Since the publication of her first collection, ‘Āsyiqah al-Lail (1947),—which contains one of her best known works entitledKūlīra—she has contributed toward transforming Arabic poetry in terms of its orientation and structure. This is reflected equally in her works and in her critical theorization of the new poetic form known as free verse (al-syi’r al-h} urr). In 1949, she published her second volume of poems, Syazāyā wa Ramād, and prefaced it with a theory of new poetry metrics. Nāzik defines free verse (alsyi’r al-hurr) as any poetry that departs from the twohemistich line system and that employs the taf'ilah “foot”. And, the basic of the taf'ilah poetry is the unity of metrical foot. In her theory of new poetry metrics, she recommended two kinds of meters. They are pure meters (al-buhūr al-sāfiyah) and mixed meters (al-buhūr al-mamzūjah).
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Kádár, Judit. "An Exceptional Case of Women’s Self-Advocacy in Interwar Hungary: Cécile Tormay." Hungarian Cultural Studies 13 (July 30, 2020): 15–41. http://dx.doi.org/10.5195/ahea.2020.385.
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A Hungarian writer who became a prominent public figure in the Horthy era, Cécile Tormay’s (1875-1937) fame and success was principally due to her memoir, Bujdosó könyv [‘The Hiding Book’], a work published in 1920-21 that depicts the two Hungarian revolutions following World War I. This popular work enjoyed several editions during the interwar period and was translated into English and French for propaganda purposes. After World War II, Bujdosó könyv was among the first works banned by Hungarian authorities for its anti-Semitism. Hailed as the most notable female author of the interwar period, Tormay’s name rose anew after the fall of socialism in 1989. Fueled by the official biography written two years after her death in the Horthy era by the conservative professor of literature, János Hankiss, a revival in the cult surrounding Tormay’s work has taken place in recent years. Hankiss portrayed Tormay as a woman of Hungarian noble descent whose deeds were motivated by sheer patriotism. This paper contends that Cécile Tormay was embraced by the interwar elite for her active role in the counter-revolutionary conspiracy against the First Hungarian Republic.
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Fomin, Dmitry V. "Book Graphics by M.M. Tsekhanovsky. To the 130th Birth Anniversary of the Artist." Bibliotekovedenie [Library and Information Science (Russia)] 68, no. 5 (November 27, 2019): 493–504. http://dx.doi.org/10.25281/0869-608x-2019-68-5-493-504.
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The purpose of the article is to consider the book design works of the famous graphic artist and animation movie director M.M. Tsekhanovsky (1889—1965), using the complex of bibliological, art historical and historiographic methods, to identify the most characteristic features of his creative method, to reconstruct the important stage of biography of the master, analysing previously unpublished archival materials. Already in the very first illustrative cycles, the artist finds his theme: he gives a clear preference to inanimate heroes, spectacularly and clearly depicts the attributes of modern life, symbols of technological progress. Further, making illustrations to the works of S.Y. Marshak, B.S. Zhitkov, M. Ilyin, he refines his artistry and takes the prominent place among the creators of children’s “manufacturing”, technical, popular science books. He manages to adapt the extremely complex topics to the perception of a child, to fill dry language schemes, drawings or geographical maps with lively, exciting content and vivid imagery. The visual series of such graphic works is not a banal pictorial parallel of the text, its explanation, but it leads an independent party, significantly complements and enriches the content of the book. People appear quite rarely in these graphic series; they are treated very schematically and mechanistically, sometimes they seem to be the creations of the world of things and machines, so close to the artist. However, in the best works of M.M. Tsekhanovsky, and above all, in the illustrations to the famous “Post” by S.Y. Marshak, human images are shown generically, and at the same time individualized, endowed with characteristic, memorable features, clearly inscribed in the plot and rhythmic outline of the dynamic narrative. In the heritage of the master, there are also completely different works, indicating that he could become a remarkable animalist, illustrator of fairy tales or “adult” historical and revolutionary works. However, these sides of his talent were not demanded by the technocratic era of the 1920s. Transition of the artist from book graphics to cartoon animation was in some sense predetermined by the very nature of his talent: M.M. Tsekhanovsky was always interested in the problem of plastic transfer of movement and unification of disparate episodes into a coherent story.
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Nurcahya, Nurcahya, and Mahbub Hefdzil Akbar. "Pemikiran Muhammad bin Sulaiman bin Saad Al-Kafiyaji dalam Bidang Sejarah: Studi Historiografi dan Filologi Terhadap Kitab Al-Mukhtas A-R Al-Mufid Fi Ilmi Al-Tarikh Abad ke-15 M." Historia Madania: Jurnal Ilmu Sejarah 3, no. 2 (July 29, 2020): 121–46. http://dx.doi.org/10.15575/hm.v3i2.9172.
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Al-Kafiyaji was a popular folk teacher of his time and he also mastered quite a number of scientific branches and wrote many works especially in the field of history namely the book of Mukhtasar al-MufId fi Ilmi al-Tarikh. The purpose of this study aims to determine the biography and thoughts of al-Kafiyaji in the field of history based on the book of Mukhtasar al-Mufid fi Ilmi al-Tarikh. The method used in this study is a qualitative method, namely by collecting data through literature and documentation. The data analysis technique is done by the heuristic, criticism, interpretation and historiography methods. Based on this study it was concluded that: first, Muhammad bin Sulaiman bin Saad bin Mas'ud al-Rumi Muhyiddin Abu Abdillah al-Kafiyaji al-Barumi al-Hanafi was born around 788H / 1386/7 AD in the Anatolian Caucasus region located in the Asian region of Asia small and died in Egypt, and took the education world from the land of Sham to Egypt and produced many many works especially in the field of history. Secondly, in the field of history or Tarikh he has written the work entitled Mukhtasar al-Mufid fi Ilmi al-Tarikh. In this book, al-Kafiyaji examines the principles of historiography, the basics and the problems of historiography and the virtues of experts and sciences. He also investigated the date, from the definition based on language, custom, and terminology, to the history of the Tarikh. This book discusses the goals and conditions that must be possessed by someone who will write history.
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Jeziński, Marek. "Mitologia artystyczna na kontrkulturowych ścieżkach: Roy Harper." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (September 19, 2018): 127. http://dx.doi.org/10.17951/l.2017.15.2.127.
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<p>W artykule niniejszym przedstawiam polityczny wymiar muzyki popularnej w kontekście działań mitologizacji własnej twórczości przejawianych przez politycznie i społecznie zaangażowanych wykonawców z kręgu miejskiego folku i rocka, na przykładzie brytyjskiego artysty Roy’a Harpera</p><strong>Artistic Mythology on Counterculture Paths: Roy Harper</strong><p>SUMMARY</p><p>The article presents the political dimension of popular music in the context of actions meant to mythologize their own musical works by politically and socially engaged urban folk and rock performers, as exemplified by a British artist Roy Harper. The case of this performer shows that artistic mythology can be gradually constructed strictly according to the patterns taken from mythical narratives that function in all cultures in the world. It serves the specifically understood process of mythologizing the activities of an artist and the personality created by the performer. Harper’s biography is a contemporary version of the heroic myth transmitted to the public through the mass media and complemented with themes originating from folkloristic stories such as the magic fairy story. A myth like that is a certain pivot around which a mythological narrative is developed, consisting of diverse elements essential to a specific artist.</p>
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Aljunied, Khairudin. "The Koran in English: A Biography." American Journal of Islamic Social Sciences 35, no. 3 (July 1, 2018): 79–82. http://dx.doi.org/10.35632/ajiss.v35i3.484.
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Anyone familiar with Bruce Lawrence’s oeuvre knows that the book under review is the culmination of his long and serious engagement with Islam’s foundational texts. His earlier publication, The Qur’an: A Biography (2006), traces the central place of divine revelation in Muslim life and thought for many centuries. The Qur’an inspired its most faithful believers to become predominant in much of the medieval world and, in the process, it was a book that captured the interest and imagination of non-Muslims. Law- rence’s own translation of the Qur’an into English is now in the works. Be- fore completing this admirable feat at the prime of his scholarly life, he offers us an inventory of a number of influential and no less creative—some polemical—attempts at untying the Gordian knot of rendering classical Ar- abic into lucid English. But can God’s eternal word, revealed to Prophet Muhammad in the seventh century, be translated into English at all given the deep-seated differences between the two linguistic worlds in space and time? The answer to this question is not a simple yes or no, as Lawrence explains in this slim but indispensable volume. Unlike scriptures of other world religions, the Qur’an stakes a claim on its linguistic authoritativeness from the onset. Its self-image, as specialists such as Daniel Madigan, Toshi- hiko Izutsu, and Fazlur Rahman have it, was rooted in its unique language. The Qur’anic language is thus not merely one language among others of its time (or anytime) but is the distinctive language of God to be read, stud- ied, memorized and disseminated in the original form. From this angle of vision, no translation of the Qur’an is regarded by the majority of Muslims as the Qur’an itself. Lawrence acknowledges this longstanding credo, or the dominant “filter of orthodoxy,” as he puts it (xxi). The translated Qur’an is, to him, best referred to as a “Koran”. Not that the Arabic and translated texts are radically different in terms of their central messages and moral injunctions, but that the Koran was a historical and not an eternal artefact. The Koran was a product of a human endeavor to make the language of God accessible in the world of man. The filter of orthodoxy was however confronted with an ever-growing and cosmopolitan ummah which, for the most part, consisted of non-Ar- abs who knew little but a rudimentary form of Arabic. Translations became inevitable, as Lawrence informs us. The Arabic Qur’an in its pure form gen- erated Korans in other Muslim languages (Persian, Turkish, Malay, etc.) as Islam grew to become a juggernaut after the death of Muhammad (Chapter 1). And yet, as Islam emerged triumphant as a world-conquering faith, its adversaries saw the urgent need to fully discern the scriptures that made Muslims so powerful. Translations into Latin and then English from the twelfth through the eighteenth centuries were largely born out of hate en- meshed with fear and the passionate desire among translators to convince fellow Christians of “falsehood of the Qur’an” (33). Such adverse motives however turned into an emphatic understanding of what the Qur’an actu- ally stood for, as seen in George Sale and Edward Henry Palmer’s transla- tions. The Orientalists were not all cut from the same cloth. What Lawrence does not show quite clearly was how these early English translations provided the raison d’etre for Muslims to produce their own Korans as a corrective project against the biases of Western Orientalism. In South Asian translations by Muhammad Ali, Abdul Majid Daryabadi, Mar- maduke Pickhall, and Abdullah Yusuf Ali, allusions were made, be it direct- ly or obliquely, to the problems of earlier (non-Muslim) translations, just as they sought (for example) to undo use of the terms “Mohammedan” or “Mohametan” to describe Muslims. Granted that these translators belonged to different Muslim sects, their overriding concern was that the Qur’an suf- fered from imprecise translations into English. South Asian Muslims, in my view, were not only translating the Qur’an. They were arresting the march of a prejudiced form of Orientalism by producing English Korans of their own. In hindsight, their efforts were successful, at least for a while, until the advent of the digital age. The coming of the internet and the expansion of English as a lingua franca of most of the world, as Lawrence handsomely points out, has led to the proliferation of Korans, both online and offline, by Muslims and non-Muslims, conservatives and liberals, orientalists and their detractors, Sunnis and Shi’ites, feminists and artists. To Lawrence, most translations produced in an era of abundance fail to capture the Qur’an’s rhythmic prose, with the exception of a handful. Contemporary Korans are so often contorted by the politics of ideological hegemony and nationalist parochi- alism that hinder scholarly endeavor (Chapters 4-5). Lawrence singles out Saudi translations that purvey a puritanical strand of Islam. Interestingly, there are, within Saudi Arabia itself, less literalist Korans. One wonders whether the current political transition in Saudi Arabia will give rise to newer, state-sponsored translations of the Qur’an. I certainly believe it will. For now, Lawrence shows that Salafism in Saudi Arabia (as elsewhere in the Muslim world, as many analysts have pointed out) is not by any means monochrome and homogenous. It is therefore unsurprising that different Korans have been produced in a highly controlled and conservative state. Meantime, the market is flooded with highly popular alternatives in the likes of those by Thomas Cleary, Muhammad Abdul Haleem, and Tarif Khalidi. Spoilt for choice, Muslims and non-Muslims have now the liberty to choose which translation squares with their respective lingustic tastes, spiritual quests, and worldviews. Lawrence ends the book with the latest and most innovative venture at translating the Qur’an, by artist Sandow Birk. It is a translation that comes in the form of inventive expressions, a graphic Koran, so to speak, intended for an American audience whom Birk believes can discern how the Qur’an addresses their everyday trials and tribulations. The linguistic beauty of the Qur’an, in Birk’s formulation, is best expressed in colorful images. An American himself, Lawrence is most impressed by Birk’s project, couching it as “visual and visionary, it is a hybrid genre designed to reach a new audience not previously engaged either by the Koran or by Islam” (137). Had George Sale and Henry Palmet lived to this day, they would perhaps shudder over such an Americanization of the Qur’an. In displaying art with a Qur’anic glaze, Birk does more than translating the Qur’an to English. He demonstrates how the Qur’an can be embedded and normalized into Anglo-American lives and sensibilities. Provocatively-written, deftly-researched, and a pleasure to read, The Koran in English opens up many promising pathways and novel directions for future research. The specter of the Palestinian-American scholar, Is- mail al-Faruqi, came to mind as I was reading the book. Al-Faruqi once envisioned English becoming an Islamic language, or a language that can express what Islam is more accurately. Al-Faruqi held that this could be achieved by incorporating Arabic terms into the English corpus. Reading The Koran in English tells us that Al-Faruqi’s vision is currently realized in ways he barely imagined, or perhaps, in ways that are more subtle and sublime. In translating the Koran to English—an enterprise that is now undertaken by scholars, popular writers, and artists, and that will undoubt- edly grow exponentially in the years to come—English has been (or is) Ko- ranized. Or, to borrow and inflect Lawrence’s syllogism in the opening of the book: If you don’t know Arabic, you can still understand the Qur’an. By understanding the Qur’an, you can choose to become a Muslim. And if you do not become a Muslim, you may still appreciate and derive much benefit from the Qur’an. Therefore, the Qur’an, or the Koran, is not only for Muslims but for those who care to think and reflect about life and about the divine. Indeed, “He gives wisdom to whom He wills, and whoever has been given wisdom has certainly been granted much good. And none will grasp the message except the people of intellect” (al-Baqara: 269).
Khairudin AljuniedMalaysia Chair of Islam in Southeast AsiaGeorgetown University
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Anashkin, Anton. "“...The Daughter of Glorious Leontius”: Historical Role and Literary Works of Aelia Eudocia Augusta in Modern Historiography (Based on Tatyana Aleksandrova’s Book “Byzantine Empress Athenais-Eudocia. Life and Works in the Context of the Reign of Emperor Theodosius II (401–450)”. Saint Petersburg, Aleteya Publ., 2018. 416 p.)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 338–44. http://dx.doi.org/10.15688/jvolsu4.2019.6.27.
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Introduction. The article analyzes the contents of the monograph “Byzantine Empress Athenais-Eudocia. Life and Works in the Context of the Reign of Emperor Theodosius II (401–450)” by Tatyana Aleksandrova. It is devoted to the personality of Empress Eudocia (ca. 405–460) and her poetical heritage in the context of the period. Discussion. Over the recent decades academic interest in personalities has grown significantly. And it is not only within the framework of historical science. The genre of historical research has become very popular among many Russian and Western academic researchers. Because of such attention to personalities one of the urgent tasks of modern Byzantine studies is studying works of little-known or “secondary” Byzantine authors. These ones include the personality of royal poetess Aelia Eudocia Augusta (ca. 405–460). The scale of her activity and influence on the Byzantine culture is still poorly understood. Analysis. As a historical figure and poetess Eudocia attracted attention of researchers of Byzantine history and literature more than once. Historiography is mostly characterized by a certain duality of the approach to studying the personality and works of Eudocia. It often happens that researchers consider Eudocia the author and Eudocia the Empress as two different persons. Tatyana Alexandrova tries to combine both of these approaches and explore the poetic legacy of Eudocia in the historical and literary context of the 5th century. The author of the monograph reconstructs the biography of Eudocia, analyzes and verifies various research hypotheses of the predecessors (A. Cameron, B. Sowers, K. Holum, T. Graumann, C. Bevegni, E. Livrea, etc.). The author of the monograph comes to the conclusion that legends and myths around Eudocia’s name only remotely reflect the reality and their appearance was politically motivated. At the same time, the author studies all attributable poems and works by Eudocia and focuses attention on such ones as the Martyrdom of St. Cyprian and the Homeric centos. Results. The author of the article comes to the conclusion that the monograph is an important step in understanding and representing the role of Eudocia in the Byzantine history and culture of the 5th century.
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Hobden, Fiona. "Reading Xenophon's Symposium." Ramus 34, no. 2 (2005): 93–111. http://dx.doi.org/10.1017/s0048671x00000965.
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In just over a decade, interest in Xenophon'sSymposiumhas risen dramatically. No longer the poor relation to its author's more popular Socratic works or to Plato's dialogue of the same name, it now merits scholarly attention on a regular basis. However, despite an increased sensitivity to the author's literary and philosophical strategies, modern readings of the text are informed above all by the presence of Socrates. Because the philosopher is assumed to be Xenophon's primary interest, theSymposiumis viewed as an apology for the radical philosopher or a promotion of his ideas and methods. This perception derives in part from an old-fashioned dismissal of Xenophon as a poor man's Plato, intellectually incapable of anything more than biography. But it also relates to the work's longstanding association with Xenophon's other Socratic works, namely theApology, Memorabilia, andOeconomicus. Since scholarship on Xenophon began, the four texts have been treated as a unit, bound in purpose by their depiction of Socrates. However, although the philosopher certainly features prominently in these four texts, each work is structurally distinct. In theApology, the narrator invites Hermogenes to replay his final conversation with Socrates and to describe the philosopher's performance in court, in order to correct inadequate understandings of Socrates' choice of death over life. By contrast, theMemorabiliadepicts Socrates in extended disputation with many interlocutors on a wide variety of subjects as he seeks to lead them towards virtue and, in the narrator's opinion, demonstrates himself to bekalos kagathos(literally ‘beautiful and good’). Then again, theOeconomicusrecords two exchanges, one between Socrates and Critoboulus and another between Socrates and Ischomachus, and juxtaposes their arguments one against the other. And finally, theSymposiumlocates Socrates within a livelysymposion(drinking party) at the house of Callias, son of Hipponicus, in Athens during 422 BCE. Here, the philosopher often directs the conversation. However, his drinking companions also participate freely in the performances and conversations that take place. In short, Xenophon's four Socratic texts all have their own dramatic contexts and conceits, with different structures and ambitions, and different roles for Socrates. Yet even amongst them, theSymposium'sdramatic staging of a vibrant and variedsymposionparticularly stands out.
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Wincencjusz-Patyna, Anita. "Attractive lives on attractive pages. Polish illustrated biographical books for young readers." Problemy Wczesnej Edukacji 34, no. 3 (September 30, 2016): 107–17. http://dx.doi.org/10.5604/01.3001.0009.4847.
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This paper focuses on an exceptionally interesting kind of books dedicated to young readers, quite popular recently in Poland, namely picture biography books for children and teenagers. Polish publishing houses, especially Muchomor from Warsaw, for the last few years have been coming up with a number of intriguing titles, both in the matter of words, and also in their graphic contents, especially the series “Gdansk Trilogy”. Brave ideas, young talents, novel artistic solutions, and original illustrations make the lives of famous people, not so very well-known figures and some unknown names – from both far and near, homeland and neighbourhood history – attractive reading matter. The author also looks back at the history of Polish illustrations included in biographies published in the second half of the 20th century. By combining the traditions of Polish applied graphic art with its up-to-date condition the author wants to trace the impact of the old and the novelty of contemporary books. She wants to stress the expressive power of an image turning illustrations into independent works of art. The number of illustrations and the graphic concept of an up-to-date language of visual forms make them genuine picture stories (especially in the designs by Ignerska). By means of comparative analyses of form and style, as well as a theory of image, she is going to focus on features of the visual side of the aforementioned books. The author would also like to stress the change in the way of perceiving the common history of places with such a complicated history as Gdańsk itself (in which Elisabeth and Johannes Hevelius, Fahrenheit, Schopenhauer, despite their German roots, are treated as part of the common heritage).
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Ivanenko, Valentyn V. "Master of Ukrainian Medieval Studies (Memoirs on the Anniversary of Professor M. P. Kovalskyi)." Universum Historiae et Archeologiae 2, no. 1 (December 31, 2019): 5. http://dx.doi.org/10.15421/26190101.
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On the basis of personal memoirs and observations the research dwells on some fragments of the life and creative biography of a well-known Ukrainian historian, Honored Worker of Science and Technology of Ukraine, Professor M. P. Kovalskyi during his work at the Dnipropetrovsk Classical University (1963–1994). It has been emphasized that it was during this period of time that M. P. Kovalskyi formed as a scientist and prominently revealed himself as one of the greatest researchers of the Ukrainian Middle Ages, especially the national source studies of historical heritage of the 16th and the first half of the 17th centuries. His scientific works as well as his contribution to the development of historical science is well-known and appreciated not only in Ukraine, but also in the European historical and professional spheres. The powerful school of source studies created by the scientists along with other world-famous scientific centers of our higher educational establishment over different generations, has remained in the historical memory of the university community as a symbol and inspirational example of true asceticism in science. The most essential imperatives of professional and life credo of M. P. Kovalskyi were a high general and academic culture, an amazing hard work, purposefulness, perseverance, intelligence, erudition, sociability, active citizenship, patriotism, honesty, modesty, decency, all of which made him a popular acknowledged scientist and authoritative scholar, a teacher, and an extraordinary, outstanding person.
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Rodgers, Stephen. "Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850." Nineteenth-Century Music Review 10, no. 1 (June 2013): 119–49. http://dx.doi.org/10.1017/s1479409813000062.
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This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlioz's biography, I argue that their conventionality belies a deeply personal resonance and a musical ingenuity uncommon to the romance genre. As a whole, these songs show Berlioz returning to an intimate and direct style during an especially introspective and nostalgic period of his life. Even more, they suggest that his urge toward self-reflection was not confined to the programmatic and the large-scale, and that his miniatures and monuments have more in common than one might think.
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Bren, Frank. "Ripple Effect: the Theatrical Life of Max Linder." New Theatre Quarterly 25, no. 3 (August 2009): 241–54. http://dx.doi.org/10.1017/s0266464x09000426.
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By 1909 the French actor, playwright, and director Max Linder was probably the most popular male film star of his time, and his success as an innovative writer-actor of variety and revue continued until the outbreak of the First World War. But this followed five years of frustration in stage-ornament roles on the professional, ‘legitimate’ stage, and only after success in the cinema did his playlets, integrating filmed and live action, further enhance his fame in variety venues across Europe. After the war, and Linder's stints in Hollywood, his long descent into bouts of manic depression tragically began. But his theatrical spirit survives in the cine-stage works of the Prague theatre, Laterna Magika, and Frank Bren also discusses here his possible influence on the work of Erwin Piscator, and more surely on the spectacular Paris music-hall production, Jour de fête à l'Olympia, created by and starring Jacques Tati in 1961. This was plainly modelled on Linder's cinema-theatre creations of 1910–1914, with Tati and Pierre Etaix the outstanding successors to Max in French film comedy. Australian actor-author Frank Bren is currently writing a biography of Pierre Etaix, whose classic film comedies of the sixties are now being restored for international re-release – two of them paying discreet homage to Max Linder. Bren has written or co-written histories of Polish and Chinese cinema and theatre as well as articles for diverse international periodicals.
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Szurlej, Tatiana. "From Heroic Durga to the Next Victim of an Oppressive Patriarchal Indian Culture: Too Many Variants of Phoolan Devi’s Biography." Cracow Indological Studies 20, no. 2 (December 31, 2018): 257–80. http://dx.doi.org/10.12797/cis.20.2018.02.12.
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Phoolan Devi (10.08.1963–25.07.2001), the famous Bandit Queen still appears in stories about famous Indian women. However, while in India, mainly among poor villagers, she is usually described as a heroic defender of the poorest, in the West Phoolan is seen primarily as another victim of Indian patriarchal culture. Moreover, although most of books about Phoolan are based on interviews with her, every version of her biography differs from one another, which raises the question whether these differences are the consequence of a conscious manipulation of a person who tries to justify certain dark aspects of her life, since the famous dacoit owes her fame to her bloody act of revenge on Thakurs in the Behmai village, which was the biggest crime committed by bandits in India until then.
The most popular story about Phoolan’s life is the film Bandit Queen made in 1994 by Shekhar Kapur, based on the book India’s Bandit Queen. The True Story of Phoolan Devi by Mala Sen, who is also the author of the screenplay. The autobiography of Phoolan Devi, who tried to stop the release of the Bandit Queen, claiming that it shows a false story, was written in response to those two works. By constructing her image in the autobiography, Phoolan Devi tries to appear as a very strong woman who could achieve a lot, in spite of adverse conditions. Yet it is hard to resist the impression that the autobiography of Phoolan Devi, despite of its very realistic elements, is to some extent a false testimony. The question remains whether it was the publisher, who decided to construct the story this way to satisfy the tastes of the Western readers and respond to their needs, just like the movie of Shekhar Kapur, or maybe Phoolan, deliberately or unknowingly, presented herself as a victim in search of sympathy after the massacre in Behmai.
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Knapp, Éva. "Vergilius, Horatius és Ovidius magyarországi recepciója Palingenius Zodiacus vitae-jének magyar fordításaiban." Antikvitás & Reneszánsz, no. 4 (December 1, 2019): 101–17. http://dx.doi.org/10.14232/antikren.2019.4.101-117.
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The Italian humanist Marcellus Palingenius Stellatus, the author of Zodiacus vitae, a popular teaching poem (philosophical poem, epic, “great epic”) published in several editions and translations throughout Europe for centuries, is one of the mysterious figures in the history of European literature. His biography is largely uncertain, and is mainly derived from the work itself. this work is a moral and philosophical poem divided into twelve books according to the signs of the zodiac. The zodiac signs follow each other according to the ancient Roman calendar. To summarize the knowledge of man available in the early 16th century, Palingenius used the works of antique authors, especially the poems of Virgil, Horace and Ovid. His allusions, adaptations and transpositions, as well as their sources, are extremely diverse. After the first Venetian edition presumably dated 1531, new editions of the book appeared in succession, even though it was constantly on the list of forbidden books (Index librorum prohibitorum) from 1557 onwards. The impact history of the work has long been a separate research topic, but it has not been dealt with in Hungary so far. Translations of the national languages of the Zodiacus vitae have been and continue to be produced since the second half of the 16th century. The first and still the only complete manuscript translation in Hungarian was made by József Elefánti Jáklin in 1771. The manuscript was not published, but several copies survived in Bratislava, Budapest, Eger and Pécs. There is no exact answer to the question of which Latin edition Jáklin translated as the catalogue of the his library is unknown.
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Bokarev, Alexei S., and Yulia V. Tkachuk. "Intersubjectivity in Maria Stepanova's poetic cycle «Spolia»." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 52–57. http://dx.doi.org/10.20323/2499-9679-2021-1-24-52-57.
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The article considers M. Stepanova's cycle of poems «Spolia» (2015) from the point of view of the relationship between the author and the hero, whose outlooks are clearly getting closer at the non-classical stage of poetics development. The authors analyse the artistic strategy where «I», being the subject of the utterence, delegates the right to speak and/or the right to make judgements to the «other», «connecting» to the «other» for the sake of self-expression. Spolia is based on the complex of meanings connected with the author's consciousness, directed towards the author, but not autonomous in relation to the subject: replication (usually not marked graphically) and «alien» intention (understood as value expression directed at the protagonist) are the most popular forms of speech production in the cycle. The author's powers are thus limited to recording judgements addressed to the heroine and critically interpreting Stepanova's texts (the poet's works must be read as meta-lyrics), and to organizing the space for dialogue. The «voices» of both classical and modern artists (from A. Griboyedov and P. Tchaikovsky to Ven. Yerofeyev and G. Dashevsky) are included in the subjective sphere of «Spolia» as inseparable but not merging with the author's voice. When the purpose of the intertext comes down to expanding the boundaries of the personality, which is no longer understood as a «center», but as a «radius» of the artistic world, it is natural to disregard the individual biography of the writer. The poet's «passport» name, according to Stepanova, is a «synonym» for the epicenter of pain: unity with the world is only bought at the cost of suffering, which opens up to the author the possibility of «no-self-speaking», rare in poetry
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Zaczkowski, Rafał. "Tadeusz Konrad Przypkowski (1905–1977) – gnomonik z Jędrzejowa." Studia Historiae Scientiarum 19 (September 30, 2020): 75–130. http://dx.doi.org/10.4467/2543702xshs.20.005.12561.
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Niniejszy artykuł przedstawia biografię naukową Tadeusza Konrada Przypkowskiego (1905–1977), wybitnego eksperta w dziedzinie gnomoniki – jest to pierwsze w literaturze tak obszerne opracowanie tego tematu. Był on z wykształcenia historykiem sztuki i nauki, doktoryzował się w 1929 roku na podstawie pracy o XVII-wiecznym rzeźbiarzu małopolskim Janie Pfisterze, a habilitował w 1965 roku na podstawie pracy Naukowe pojęcie deklinacji magnetycznej w Polsce. Od najmłodszych lat interesował się gnomoniką, rekonstruował i tworzył nowe zegary słoneczne, restaurował zabytkowe. Prowadził badania, publikując na ten temat artykuły w czasopismach naukowych i popularnonaukowych. Jego pasja, którą była gnomonika, sprawiła, że stał się wybitnym specjalistą znanym i cenionym w kraju i na świecie. Wielokrotnie pełnił rolę konsultanta i wykonawcy zegarów słonecznych. Brał udział w sympozjach i konferencjach naukowych, na których wygłaszał odczyty, entuzjastycznie przyjmowane przez uczestników. Do dnia dzisiejszego jego prace można oglądać i podziwiać w wielu miastach w Polsce i za granicą. Tadeusz Konrad Przypkowski (1905–1977) – a gnomonist from Jędrzejów (Poland) This article presents the scientific biography of Tadeusz Konrad Przypkowski (1905–1977), an outstanding expert in the field of gnomonics. This is the first such comprehensive study of this subject in literature. T.K. Przypkowski was a historian of art and science, and obtained his doctorate in 1929 based on the work of Jan Pfister, a 17th century sculptor, and he received a tenure in 1965 based on the work Scientific concept of magnetic declination in Poland. From an early age, he was interested in gnomonics, and would reconstruct and create new sundials, as well as restore antique ones. He conducted research, published articles in scientific and popular scientific journals. His passion for gnomonics made him an outstanding specialist known and appreciated at home and in the world. He was a consultant and a sundial maker many times. He participated in symposia and scientific conferences at which he delivered papers enthusiastically received by participants. To this day his works can be sees and admired in many cities in Poland and abroad.
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Sumatokhina, L. V. "Siberian Theme in M. Gorky’s Publishing Project “History of the Village”." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 269–76. http://dx.doi.org/10.25205/2410-7883-2020-2-269-276.
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“History of the village” is chronologically the last project in a series of major publishing projects of M. Gorky in the 1930s. The idea was not implemented. Work on the project began in February 1935. In January of this year, Gorky received a letter from Siberia, from the editor of a small Siberian newspaper N. Zharikov, who reported on the beginning of work on the history of the Siberian village. The Siberian theme as the starting point of the “History of the village” was initially rejected by Gorky. He insisted on describing “typical” villages and villages, which did not include Siberian villages. However, in a number of points of a large publishing project, the Siberian theme inevitably manifested itself, in particular, in two books that V. Ya. Zazubrin worked on. In the “History of the village” there were several major thematic blocks. A special place among them was occupied by the “Library of the collective farmer”. It was intended to be a “verbal illustration” of historical works of a popular science nature. Engaged in the “Library of the collective farmer” V. Ya. Zazubrin. He carried out the selection of texts, worked with commentators and authors of prefaces to collections. In the collection of selected chapters from the “Journey from St. Petersburg to Moscow” by A. N. Radishchev, he intended to add fragments of the diary of his Siberian journey. One of the latest versions of the plan for the “Library of the collective farmer” includes the “Book about Radishchev” by V. Ya. Zazubrin, which includes a biography of Radishchev, peasant chapters “Travels from St. Petersburg to Moscow” and excerpts from the Siberian travel diary. The Book dedicated to the Russian-American company was supposed to cover the company’s activities in Siberia. The idea of the book appeared in the plans of the series thanks to S. N. Markov, a colleague of Zazubrin in the “Siberian lights”, who in 1935 was exiled in Arkhangelsk. It was Markov who told Gorky about the part of the archive of the Russian-American company discovered in Vologda. While working on the inventory of this archive, Markov initiated his Pacific card index, on the basis of which he later wrote a number of works. The history of Russian America became the main theme of his work. V. Ya. Zazubrin’s participation in the project and Gorky’s correspondence with S. N. Markov especially contributed to the development of the Siberian theme in the “History of the village”. In the thematic and production plan of the “Library of the collective farmer” for 1937, compiled after Gorky’s death, was included the book about the Russian-American company by S. N. Markov under the editorship of V. Ya. Zazubrin. In 1947, based on his Pacific card index, Sergey Markov wrote the book “Chronicle of Alaska”.
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Wansink, Christina J. A. "De decoratieve schilderkunst van Mattheus Terwesten, een Haagse meester uit de achttiende eeuw." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 270–92. http://dx.doi.org/10.1163/187501790x00138.
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AbstractThe painter Mattheus Terwesten, much esteemed in his own day, and highly praised by Van Gool, was born in 1670 in The Hague. He was taught by his older brother Augustinus, Willem Doudyns and Daniel Mytens. In 1695 he travelled by way of Berlin, where Augustinus was court painter, to Rome, where he became a member of the Bentyvueghels, who nicknamed him 'Arend' (eagle). Back in Berlin in 1698, he was commissioned by the Elector to design two ceilings for the palace in Charlottenburg. From 1699 on, apart from a brief sojourn in Berlin as court painter in 1710, he lived in The Hague. Many of his patrons were prominent members of the regent class. Terwesten continued to paint until a ripe old age; throughout his life he was an active member of the Pictura Confrerie and the Hague Academy. He died in 1757. The Rijksprcntenkabinet possesses a biography written by his son Pieter, based on the painter's own notes. The carliest known work is a Liberation of Andromeda in the Herzog Anton Ulrich-Museum in Brunswick, dated 1697 Berlin', a combination of location and year that cannot be correct. The ceilings painted by Augustinus and Mattheus for Charlottenburg have been lost; since 1977 however, the palace again contains four large paintings by Mattheus with scenes from the story of Aeneas and Dido, one of them signed and dated 1702. Preparatory studies, as part of a series of twelve drawings, are in the Rijksprentenkabinct in Amsterdam. The paintings probably belong to the series of twelve pieces devoted to Aeneas which Mattheus, according to Pieter's manuscript, painted in 1702 for the house of Van der Straaten in the Hoogstraat, The Hague. Terwesten's most ambitious ceiling is the cupola of Fagel, a combination of painting and painted stucco, done in collaboration with the flower painter Gaspar Peeter Verbrugghen. Restoration of the old town hall of The Hague in 1974 revealed a ceiling painted by Terwesten in 1737. ln the Drents Provinciaal Museum in Assen is a Terwestcn ceiling, regarded as an anonymous work, which has been established as coming from 22, Hooglandse Kerkgracht in Leiden. Terwesten rarely received church commissions; an exception is an altarpiece, the Transfiguration, for the Old Catholic church in the Juffrouw Idastraat, The Hague. His later works, like Solomon's first judgment in the town hall of Monster, are characterized by a certain rigidity. This also applies to an Allegory on peace, catalogued as an anonymous painting, in the Mauritshuis in The Hague, which may be attributed to Terwesten. Mattheus Terwesten not only carried out commissions but painted for the open market as well. In view of the relatively large number of religious works listed in the catalogue of his estate, which was auctioned in 1757, there seems to have been a market for biblical scenes. His paintings of children or putti at play were very popular. Many of them have been erroneously attributed over the years: an Allegory on spring in the museum at Tarbes and an Allegory on spring in the Bayerische Staatsgemäldesammlungen in Munich arc attributed to Augustinus Terwesten. Mattheus Terwesten collaborated with various flower painters, in keeping with a Flemish tradition to which he had been introduced by Gaspar Peeter Verbrugghen, who came from Antwerp. After Verbrugghen left The Haguc (in 1732), Terwesten worked with Pieter Hardimé and Coenraet Roepel, who later taught his son Pieter. Terwesten's decorative and later somewhat mechanical style catered to the taste of the wealthy citizens of his day. It is in this light that his works mcrit attention.
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Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.
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Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is clear that at the very beginning of his work Zhu Jian’er had the skill of a versatile depiction of inner experiences and difficulties encountered in the life of the hero. The second number or. 1 No. 2 “Waves washing sand” – imbued with a lyrical and philosophical mood. In the musical-figurative sphere, the landscape poetry occupies a central place with philosophical overtones, symbolically revealing the images of waves on the sand, characterizing the lyrical experiences of the hero and his sadness. op. 1 No. 3 “Lullaby” – the lyrical center of the cycle, a song of meditation with a predominant shade of sadness and philosophical overtones – the theme of enlightenment, the general meaningful canvas corresponds to the genre of lullabies, the appeal to the child, full of tender feelings. The fourth song Or. 1 No. 4 “I want to return to my homeland”, serves as a kind of finale. The basis of the song is the topic of separation, which is very popular in the songwriting of Chinese composers. The content of the song is symbolic: it is not only dreams of a distant friend, family and friends, but also a reflection of emotional feelings of separation from the motherland. Songs “Spring, when you return” and “Dream” were created by the composer in 1944, are devoted to events from the life of the composer. Zhu Jian’er saturates the musical fabric of the song with unstable harmonies, offers a more complex texture solution to the piano part (alternating polyphonic and homophonic-harmonious presentation) and gives it greater independence as an independent layer of musical tissue. The vocal melody also acquires a new look. An arioso-declamatory by nature, it embodies all the nuances of a poetic text that is pronounced with a special sentimental feeling (“Spring, when you return”) or a joyful hope (“Dream”). The analysis completes the generalized characterization of the composer’s early song-writing, in which the inherent features are distinguished. The skill and artistic significance of his songs testify to the fact that Zhu Jian’er succeeded in original compositions with vivid national characteristics. In the early chamber-vocal works of Zhu Jian’er, musical embodiment was achieved both in luminous, lyrical, and sad, even grim character themes related to the reflection of deep emotional, indeed – philosophical aspects of being revealed through a change of experiences. The theme of many songs is associated with the embodiment of the thoughts and feelings of a person, with the chanting of a beautiful nature. Conclusions. The least studied early period of creativity, in particular, the sphere of chamber-vocal music formed the individuality of the compositional style of Zhu Jian’er. Zhu Jian’er’s songs are characterized by vivid musical images and colorful writing, vividly representing the individuality of the composer’s musical language. These works alone allow us to say that in his early years the composer Zhu Jian’er was a high-level musician.
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Rosengren, Henrik. "Birgitte Possing. Understanding Biographies; Caitríona Ní Dhúill. Metabiography." European Journal of Life Writing 9 (December 28, 2020): R31—R36. http://dx.doi.org/10.21827/ejlw.9.37311.
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Both in the Scandinavian countries and in Germany, the status of biographical writing has changed to a far greater extent in the last fifty years than in the Anglo-Saxon world. In the latter context, biography has been more popular than in Germany and, for example, Denmark and Sweden. It has continuously been regarded as both a genre worthy from a scholarly career point of view and as a means for scholars, such as historians, to reach a wider audience outside the academic ivory tower. Explanations for this difference may lie in diverse scholarly traditions where American and British scholars have consciously strived for a larger readership than the purely specialized and interdisciplinary one. An Anglo-Saxon narrative tradition in which language, style and composition have been key words has supported biography writing.
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Shumakov, Andrey A. "FROM AN OUTCAST TO THE PROPHET: THE EVOLUTION OF MALCOLM X’S RELIGIOUS AND POLITICAL PHILOSOPHY." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 2 (2021): 192–209. http://dx.doi.org/10.21684/2411-197x-2021-7-2-193-209.
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The figure of the radical African-American preacher Malcolm X has always occupied and continues to occupy a special place in the history of the protest movement of the 1960s. This is due to a number of reasons, the main of which was the pronounced ambivalence and inconsistency of the political philosophy of this public figure, who was noted for both ultra-radical religious sermons and rather progressive revolutionary and national liberation ideas at the final stage of his life. The latter, in fact, made him one of the main characters of the “rebellious decade”. While the far-right radicalism of the Harlem preacher faded into the background and began to be perceived as some “mistakes and misconceptions” that were later rethought and overcome. The question of assessing the legacy and personality of Malcolm X has always caused a lot of controversy. On the one hand, his contribution to the development of the movement of the struggle of the Black population for their rights and the formation of the African-American mentality is undeniable; on the other — it can be said that in the academic environment for all this time they practically were not subjected to critical reflection. If, during his lifetime, the ideas of the Harlem preacher were perceived by the vast majority of Americans as frankly marginal, then after his tragic death in 1965, Malcolm X became one of the most popular and iconic figures in recent US history. Any criticism of him began to be perceived extremely painfully. In this article, the author tried to trace the process of formation and evolution of the ideological and political views of Malcolm X, which was the main goal of the study. The main difference from other works on this topic was that in this article, this phenomenon is considered in dynamics, the causes of transformations and the influence of related factors are noted. At the same time, the author tried to identify certain “variables and constants” of the religious and political philosophy of Malcolm X, not only fixing them, but assessing the degree and depth of changes. That led to rather unexpected conclusions on a number of issues, the main of which was the explanation of the reasons for the incredible popularity of Malcolm X in modern American society. The main method of research is materialistic dialectics, which allows considering the political philosophy of Malcolm X in dynamics in accordance with the principle of historicism. Special attention is paid to the issues of radicalism, the transformation of ideological and political views and attitudes to religion, the debunking of myths, stereotypical and hyperbolized ideas about this figure, and the key milestones of his biography. As for the specific historical methods, the historical-genetic and historical-typological approaches are used in this work.
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Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.
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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for the creation of this study was the desire to increase interest in the work of Gershwin as a “serious” composer and to draw the attention of domestic academic pianists to the value of his piano works, presented not only the “Rhapsody in Blue”, which has been mostly played lately. The purpose of our research is to prove the relevance of the performance of Gershwin’s instrumental works in the academic concert environment as the music of the classical tradition, tracing the formation of specific features of the composer’s instrumental creativity and their reflection in the cycle of “Three Preludes for Piano” in 1926. Studies of the life and work of G. Gershwin, illuminating a special path in music and the unusual genius of an outstanding musician, were created mainly in the 50–70s of the XX century. D. Ewen – the author of the most detailed biography of the composer (first published in 1956, the Russian translation – in 1989) – was personally acquainted with the great musician and his family, took numerous interviews from the composer’s relatives, friends and teachers, had access to his archives (Ewen, 1989: 3–4). The author of the book enters into the details of the life and creative work of the genius and creates a portrait of the composer as a person “in relationships” – as a son, brother, friend. A separate chapter devoted to the music of Gershwin is in the fundamental work of V. Konen (1965) “The Ways of American Music”, an extremely useful study of the folklore origins and musical foundations of jazz. Cognitive is the “popular monograph” by V. Volynskiy (1988) about Gershwin, carefully structured chronologically and thematically. The Internet-pages of A. Tikhomirov (2006–2020) on the resource “Classic Music News.ru” are also very valuable, in particular, thanks to retrospective photographs and audio recordings posted there. From the point of view we have chosen, the piano Preludes by G. Gershwin have not yet been considered by domestic researchers. Research methodology is based on comparative analysis and then synthesizing, generalization and abstraction when using data from biographical literature, and tested musicological approaches when considering musical samples and audio recordings of various versions of the Preludes (including the author’s playing). The results of reseaching. G. Gershwin, despite his Jewish-Slavic family roots (his parents emigrated to America from the Russian Empire at the end of the 19th century), is undoubtedly a representative of American culture. Outstanding artists have almost always turned to the folklore of their country. In Gershwin, this trait manifested itself in a special way, since American folklore, due to historical and political circumstances, is a very motley phenomenon. Indian, English, German, French, Jewish, African, Latin American melodies surrounded Gershwin everywhere. Their rhythms and intonations, compositional schemes were melted, transformed in professional music (Konen, 1965: 231–246). The first musical teacher of Gershwin was the sound atmosphere of New York streets. This is the main reason that the style of his musical works is inextricably linked with jazz: Gershwin did not encounter this purely American phenomenon, he grew up in it. Among the numerous other teachers of Gershwin who significantly influenced on the formation of his music style, one should definitely name the pianist and composer Charles Hambitzer, who introduced his student to the music of Bach, Beethoven, Chopin, Liszt, Debussy, Ravel (Ewen, 1989: 30–32). The most part of Gershwin’s creativity consisted of working on musicals, a typically American genre. The work with the musicals gave the composer the basis for writing his first jazz opera “Blue Monday“, 1922 (other name – “135th Street”), which became the predecessor of the famous pearl of the new genre, “Porgy and Bess” (1935). Following the production of “Blue Monday”, Gershwin began collaborating with the Paul Whiteman Orchestra, who was impressed by the piece. On the initiative of the latter, Gershwin created his masterpiece, “Rhapsody in Blue” (1924), which still remains a unique musical phenomenon, since the composer brought jazz to the big stage, giving it the status of professional music (Ewen, 1989: 79–85; Volynskiy, 1988: part 4). V. Konen (1965: 264–265) believes that Gershwin is a representative of symphonic Europeanized jazz, since he uses it in musical forms and genres of the European tradition. However, we cannot agree that Gershwin “used” jazz. For him, jazz was organic, inseparable from the author’s style, and this is what makes his music so attractive to representatives of both classical and pop traditions. For Gershwin, due to life circumstances, turning to jazz is not an attempt at stylization, but a natural way of expression. “Three Preludes for Piano” are significant in the composer’s work, because it is the only known concertо work for solo piano published during his lifetime. At first, Gershwin planned to create a cycle of 24 Preludes, but only seven were created in the manuscript, then the author reduced the number of works to five. A year after the creation of the Piano Concerto, in 1926, Gershwin presented this new opus. The pieces performed by the author himself sound impeccably technically and even austerely-strictly (audio recording has been preserved, see ‘Gershvin plays Gershvin 3 Preludes’, video on You Tube, published on 2 Aug. 2011). It can be noted that Gershwin is close to the European pianistic style with its attention to the accuracy of each note. The cycle is built on the principle of contrasting comparison: the first and third Preludes are performed at a fast pace, the second – at a slow pace (blues-like). The analysis of the cycle, carried out by the author of the article, proves that “Three Preludes” for piano reflect the main features of Gershwin’s creative manner: capriciousness of syncopated rhythms, subtle modulation play, improvisational development. Breathing breadth, volumetric texture, effective highlighting of climaxes bring the cycle closer to the composer’s symphonic works. Jazz themes are laid out at a high professional level, using traditional European notation and terminology. Thus, although Gershwin was a brilliant improviser, he made it possible for both jazz pianists and academic performers to master his works. Conclusions. The peculiarities of Gershwin’s development as an artist determined the combination of the jazz basis of his works with the compositional technique of European academic music. The versatility and musical appeal of the Preludes are the key to their long stage life. Plays are well received both in cycles and singly. Their perception is also improved by the fact that the original musical speech is combined in them with the established forms of academic music. The mastery of the Preludes by pianists stimulates the development of technical skill, acquaints with jazz style, sets interesting rhythmic problems. The pieces are bright and winning for concert performance. Thus, the presence of the composer’s piano pieces and other his instrumental works in the programs of classical concerts seems appropriate, useful and desirable.
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Curry, Ramona. "Benjamin Brodsky (1877-1960): The Trans-Pacific American Film Entrepreneur – Part Two, Taking A Trip Thru China to America." Journal of American-East Asian Relations 18, no. 2 (2011): 142–80. http://dx.doi.org/10.1163/187656111x603681.
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AbstractPart One of this essay traced a biography for Benjamin Brodsky and revealed surprising facets of the production of his 1916 feature-length travelogue A Trip Thru China. Part Two addresses the film's genre inscription and cinematic qualities and relates its embedded values to its enthusiastic reception across America 1916-18. Although the ethnographic documentary pays admiring tribute to laboring men and women throughout China, it also valorizes the moribund Chinese empire, as embodied in Brodsky's ultimate patron in China, President Yuan Shikai. While fully eschewing the "Yellow Menace" U.S. discourse of its period, Trip humorously delineates the East and West as essentially different. The rare work's exceptional critical and popular success from California to New York City points to Brodsky's skilled showmanship and ability to engage the support of independent movie distributors and investors. Why, then, the essay considers in conclusion, did Brodsky's subsequent experiences after his shift in 1917 to making films in Japan, including the feature-length travelogue Beautiful Japan (1918), so diverge in its outcome from his early filmmaking career in China?
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Hurdley, Rachel. "Synthetic sociology and the ‘long workshop’: How Mass Observation ruined meta-methodology." Sociological Research Online 19, no. 3 (September 2014): 177–202. http://dx.doi.org/10.5153/sro.3376.
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The paper focuses on the relations between Mass Observation Reports, and the contemporary sociological valuing of articulacy, salience and coherence in participants’ accounts. This is linked with a critique of sociological literariness, to question how participants’ words are transformed into ‘data’ for research productions. The aims are threefold. First, to show how research participants’ contributions have valuable attributes that do not always fit neatly into conventional analytic frame. Second, to highlight how ‘awkward’ data challenge the literary conventions of sociological production. Third, to illustrate how critical reflection on a particular form of vernacular poetry can inform the poetics and politics of sociological methodology. By addressing Mass Observation's inconvenient materiality, its peculiar temporality and its diverse content, the paper considers how these unsettle the notion of ‘data’. Critically engaging with Charles Madge's and Humphrey Jennings’ notion of Mass Observation as ‘Popular Poetry’, I then consider how Whitman's vernacular epic, Leaves\ of\ Grass, has been woven into the cultural biography of the U.S. By drawing an analogy between Mass Observation's ‘Popular Poetry’ and Whitman's democratic poetics, I ask how a legitimised/legitimising research habitus can change in interaction with such materials, rather than resynthesising itself. Moving on to an ethically difficult film-making project with asylum seekers I argue for methodological architectures that open up plural, precarious, untimely ‘anthropologies of ourselves’. A politics of knowledge-making, that acknowledges the ‘long workshops’ where social worlds are crafted, can then materialise.
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Hill, Robin Anthony. "Forming impressions of hotels: the subtle power of words." Hospitality Insights 4, no. 1 (May 13, 2020): 7–8. http://dx.doi.org/10.24135/hi.v4i1.63.
Full textAbstract:
The aim of the study was to investigate the potential power that subtle wording changes may have in altering the impressions that potential guests gain from brief descriptions, such as on the home pages of hotel websites or in online reviews.
The intention was to determine whether the findings of earlier psychological research on the formation of impressions of people could be replicated regarding impression formation of hotels. In the psychological experiments, students first read a brief biography about a guest lecturer, then later attended a discussion led by him. They then rated their impressions of the man on a number of dimensions. All of the respondents experienced exactly the same discussion and received exactly the same biography. The words were identical except for one word. In one version a sentence said people who knew this man described him as cold. In the other version he was described as warm.
The change of this one word alone had significant effects on people’s ratings on some dimensions and very little effect on others. For example, those who received the warm version rated the man as more generous than those who received the cold version.
The current study was designed to see if this effect would occur when hotel management students formed an impression of a hotel, especially when there was limited information available – such as on the home page of a hotel’s website.
Data were collected from 60 students from a hotel management college who were familiar with hotels either as guests, students on industry placement, or both. The students were in their early twenties and represented a number of different nationalities.
Information from the home pages of two New Zealand hotel websites was adapted and edited to form a description of a fictitious hotel. The brief description of the hotel was followed by a survey containing 15 items, each describing a dimension of the hotel. The students gave each item a score of between 1 and 6 (see Table 1).
Respondents received exactly the same descriptions of the hotel except for the change of one word. In one version a sentence said, “Guests who have stayed at the hotel generally describe it as having a cold ambience.” The same sentence in the other version said, “warm ambience.” Thirty students read the warm version and the other 30 read the cold version.
Table 1: Statistically significant dimensions of ‘warm’ versus ‘cold’ hotel
Hotel dimension (scored 1→6)
‘Warm’ mean
‘Cold’ mean
t-test result (p)
Popular → Unpopular
2.0
3.3
0.002
Busy, bustling → Not busy, inactive
2.5
3.6
0.011
Quiet → Noisy
2.6
3.5
0.019
Tidy, well-kept → Untidy, run-down
2.0
2.8
0.035
Environmentally friendly → Not environmentally friendly
2.4
3.1
0.040
Modest → Extravagant
3.9
3.1
0.042
Knowledgeable staff → Not knowledgeable staff
2.9
3.3
0.050
Note: mean=average score (between 1 and 6); p=probability
Statistical analysis of the group averages revealed seven statistically significant dimensions. Table 1 shows that the ‘warm’ group perceived the hotel as more likely to be more popular, busier and bustling, quieter, tidier and well kept, environmentally friendly, extravagant and with more knowledgeable staff than did the ‘cold’ group.
Having rated the warm ambience as more likely to be bustling it might be expected that it would be rated noisier. That was not the case. Revisiting some students and further questioning them revealed that a cold ambience was perceived as more likely to have harsh surfaces such as tiles and glass that would echo noise. A warm ambience was perceived to be more likely to be carpeted, curtained and with décor that absorbed sound.
The findings show that the warm-cold effect could be replicated regarding impression formation of hotels and may suggest that some dimensions are core for forming an impression and others are peripheral. It appears ambience described as warm and cold may be among the core dimensions. The current study was an initial exploration of this phenomenon and further research would be required to identify whether other dimensions are core or peripheral. However, a more recent replication of the study by the current author using “welcoming – unwelcoming” produced five statistically different dimensions and hence may also be a core dimension. Whatever the case, the findings suggest that care needs to be taken when hoteliers choose wording to include in descriptions on the home pages of their websites.
Corresponding author
Robin Hill can be contacted at: robinh@pihms.ac.nz
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Younis, Abdullah Bairam, and Amir Ahmed Hamad Amin. "social and cultural issues in ‘The Slave Yards’." Twejer 4, no. 1 (May 2021): 807–50. http://dx.doi.org/10.31918/twejer.2141.18.
Full textAbstract:
The novel of ‘The Slave Yards’ by Najwa Bin Shatwan, is not only a biographic of his daughter Atiqa, in which they were lived through depression, and misery. Also, it is not a narration of Libya’s history, while the novel is about the intellectual, social and cultural issues. The author tried to present that matters in a high level. In general, that novel can be distinguished with the other novels in numerous social references, and the ability to identify them in a narrative form, in which the social references are related to the relationships of individuals with each other. The author tried to control the events, and to link the role of the characters to each other. Also, the author presents the events which they are imposed by reality, and in any changes their real social meaning will be changed as well. In this regard, we highlight those issues into two points: the first one is highlighting the traditions and customs, and the second one is highlighting the folklore songs, myths, and religious places. Key Words: Slave Carpets, Social references, Myths, Popular Songs, Customs
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Todic, Branislav. "An inquiry into the girls school at Serbian Queen Helen’s court." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 85 (2019): 3–14. http://dx.doi.org/10.2298/pkjif1985003t.
Full textAbstract:
Archbishop Daniel II wrote The Life of Queen Helen about ten years after the death of this Serbian queen (1314), wife to King Uros I. It is a work of complex structure which features a harmonious intertwining of information from the biography of queen and nun Helen with an extensive exposition of the author. The work depicts the Queen?s early commencement of good deeds: she fed the poor, clothed the naked, hosted the homeless and richly donated to churches and priests. ?She was not pleased only with this,? says the Life at a later place, ?but she also added another virtue to that; she ordered that in all of her lands the daughters of poor parents should be assembled, and feeding them at her court, she brought them up in all good manners and handiwork befitting the female sex.? This place drew critical attention very early on, having been interpreted as the foundation of the first girls school in Serbia, and it remains the most popular part of the Life until the present day. However, that passage can only be found in one copy of the Life of Queen Helen - the most recent one, from 1780 (The Library of the Serbian Patriarchate in Belgrade, Cod. 51). That circumstance, as well as the fact that the quoted passage contains words not used by Archbishop Daniel II, may lead us to a conclusion that it is actually an interpolation into the Life?s original text. The story of a girls school at Queen Helen court was taken from Zaharija Orfelin?s book The History of Peter the Great, printed in 1772, which copiously described Tsarina Catherine II?s merits in educating female and poor children in Russia. The information from Orfelin?s book was transposed and adapted to the style of Daniel II?s text, and the characteristics of the enlightened Russian Tsarina were projected onto the person of Serbian Queen Helen. That was done very skilfully, due to which this interpolation in The Life of Queen Helen has so far been undetected.
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Nikitin, Oleg V. "“We All Need Your Dictionary”: Letters to Sergey Ozhegov of the 1940s–1960s (To the 120th Anniversary of the Birth of the Scholar)." Voprosy leksikografii, no. 18 (2020): 133–49. http://dx.doi.org/10.17223/22274200/18/7.
Full textAbstract:
The publication presents previously unknown letters to Sergey Ozhegov of the late 1940s – early 1960s, which reveal facts of his scientific biography. The aim of this work is to introduce into scientific discourse rare archival documents on the history of Russian linguistics, and also to study linguistic polemics in the USSR in the era of the onslaught of the Marrism of the end of the 1940s. The main methods of studying the material are historical-linguistic, lexicographic, sociolinguistic and linguistic source analysis (search, decoding and commenting on archival texts). In the course of the research of documentary materials, the author has revealed new facts testifying to the change of a vector of scientific views on explanatory lexicography as a whole which, unlike the previous dictionary projects, was not adapted to academic needs, and first of all solved practical problems of explaining the actual lexicon of the 20th century. The article notes that one of the key issues of the dictionary work of that time was the interpretation of Sovietisms, on the one hand, and religious words and expressions, on the other. The archaic vocabulary (“merchant” and church elements) became the object of fierce criticism of Ozhegov’s opponents. Scholars and non-philological readers, polemicizing with Ozhegov, paid special attention to reviews and analysis of semantic, stylistic and cultural-historical realities of dictionary entries. Ozhegov’s respondents also discussed the difficult fate of the dictionary. The published letters contain semi-official reviews from both famous scholars (A.P. Evgenieva, Ya.M. Endzelin, R.R. Gel’gardt, J.V. Loja) and ordinary readers of The Dictionary, they reveal Ozhegov as a person of special gift loving his native language. These letters provide valuable material for the analysis of linguistic homeland studies of the period of struggle between the two ideologies in science. The letters reveal new facts of Ozhegov’s editorial work, discuss the criticism of the publication in the press, note its strengths and weaknesses. The article emphasizes the sociocultural aspect of Ozhegov’s interpretations and the ambiguity of their perception by contemporaries. The Dictionary is included in the context of general linguistic ideas by D.N. Ushakov and L.V. Shcherba. The high pedagogical value of this source is indicated. The published archival materials confirm a unique fact in the scientific practice of the mid-20th century: the emergence of a popular explanatory dictionary reflecting the cultural constants of the time and serving as a reliable tool for self-education. The article is of interest to historiographers of science, lexicologists and lexicographers, linguaculturologists, sociolinguists.
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Bozhko, Oleksandr. "Test for Resistance or Picture of the Époque in the Interior." Diplomatic Ukraine, no. XIX (2018): 851–54. http://dx.doi.org/10.37837/2707-7683-2018-57.
Full textAbstract:
Memories of the prominent Ukrainian diplomat, Ambassador Extraordinary and Plenipotentiary of Ukraine Volodymyr Khandohii titled “Diplomatic Chapters: True Stories of Career Diplomat” may be significantly distinguished among the other books of this popular genre due to its sharpened polemics. All in all, it is quite logical. Having been voted out of the office of the Ambassador Extraordinary and Plenipotentiary to the United Kingdom in summer 2014, he decided to resign since he had not received any proposals from the Minister. It was when it seemed that he had plenty of time and energy to work. In fact, this book is not about the critical attitude towards the mistakes of the young “reformers team” that came to power in Ukraine on the roar of the revolutionary wave. It is about a difficult but important Soviet period of “phantom diplomacy”, which became a solid brick in the foundation of Ukrainian statehood. Speaking about the diplomat, the author uses interesting associations, unexpected retrospectives, and parallels with modern times. He does not omit the evaluation of important failures, including one that have been made in personnel assignments, namely concerning “Ukrainian leaders with prefix “acting”, who made dramatically significant decisions in spring 2014.The motive of institutional memory preservation is constantly evolving in the book. The author is more than convinced that this issue is relevant for the current Ministry of Foreign Affairs of Ukraine. It should be noted that Volodymyr Khandohii is one of those few domestic diplomats who has not missed any career stage, starting from the position of the “fairy” attaché (as one of the veterans of the Ukrainian diplomatic service noted) of the Ministry of Foreign Affairs of the Ukrainian SSR in far 1976, and to the Acting Minister for Foreign Affairs of Ukraine in near 2009.While turning pages of this solid work (which is almost 600 pages of folio format) sometimes you may find yourself thinking that you are reading the history of the entire Ukrainian foreign-policy establishment that, despite certain ornamentality of the Soviet period, played a significant role in the establishment of independent Ukraine and protection and advocacy of its national interests in the world in modern times, rather than the biography of an individual. In other words owing to the memories of Volodymyr Khandohii, a reader has a unique opportunity to look behind the scenes where the history has been created and is still being created. It is likely that not everyone will agree with some of his points concerning the activities of individuals or their roles in Ukrainian diplomacy. In particular, as for me, the author could be more critical, while mentioning certain personalities, especially acquaintances from joint work in the Soviet Foreign Ministry. On the other hand, such subjectivism is quite natural, taking into account the personal character of memoirs as a genre. In the end, V. Khandohii emphasizes that his book is “a sketch of epoch portrait in the interior of author’s own assessments and associations”. Let me add – the epoch that tests our independent state and our people, including Ukrainian diplomats, for resistance. Keywords: Volodymyr Khandohii, “phantom diplomacy”, memoirs, history, Ukrainian foreign policy.
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O.V., Halchuk. "MYTHOLOGICAL PARAMETERS OF THE BOXER PROTAGINIST ROCKY BALBOA." South archive (philological sciences), no. 84 (December 23, 2020): 152–57. http://dx.doi.org/10.32999/ksu2663-2691/2020-84-23.
Full textAbstract:
The purpose of this study is to characterize the image of the protagonist of the saga of the boxer Rocky through the prism of mythopoetics as a type of new cultural hero in the field of sports. Research methods are historical and cultural, mythopoetic, and comparative. Its application allows to outline the genetic connection of the image of the hero-boxer with the literary tradition; identify its main parameters as a mythohero; allocate the points of intersection of the author's myth with the myth of the American dream; consider the acquisition of the mytheme of Rocky the beginnings of the ideologeme.Results of the research: The genesis of the image goes back to the traditions of neo-romantic literature. The active appeal to a ritual and a myth, and a new wave of interest in sports as an embodiment of the principle of agony and, therefore, the popularity of sports drama, resulted in the mythologization of the boxer character in the culture of the 20th century. The distinct feature of the movie is a genre syncretism; it is a combination of sports drama, film-biography, action, and melodrama with typical for mytho-scenario archetypic situations. This determines the mass audience and the range of interpretation of Rocky’s story, formed as a mythological scenario. Rocky’s biography interweaves the facts of life of the real prototypes (boxers Rocky Marciano, Rocky Graziano), fictional characters (heroes of Hollywood sports movies), and autobiographical (Sylvester Stallone). The connection with sports as a ritual gives the film a mythological connotation. Simultaneously, it highlights the utilitarian aspect, inherent in the American tradition of Enlightenment and focused on the practical application of the context. The stories of Rocky’s boxing matches, and the stories of his relationships we perceive as “steps” of his initiation to a new cultural hero or a hero of mass culture. This occurs in a chronotope with characteristics of large (Philadelphia) and small (boxing ring) topos as places of professional and personal recognition. Rocky IV stands out among the films of the franchise; the protagonist embodies the athlete-defender of the national way of life that fights against a boxer from the “empire of evil”; and from the cult hero from of mass culture he turns into a mytho-ideology.Conclusions. The popular character of world cinema Rocky Balboa realizes the typical for the 20th century need for the new cultural heroes. Belonging to the two entertainment spheres – cinema and sports – the character created by Stallone gained immense popularity and a long screen “life”. Whereas Rocky’s assertion to the mytheme, and then ideologeme, led to a “fantastic” origin as a character, that is, a combination of biographies of real and fictional prototypes; connection of life scenario with rituals; correlation of moral and ethical beliefs of the hero with the ideas of the national myth of the American dream; his life trials as stages of initiation in the sacred chronotope.Key words: Rocky, mythohero, ritual, sports drama, chronotope, mytho-ideology. Мета цієї студії – схарактеризувати образ протагоніста кіносаги про боксера Роккі крізь призму міфопоетики як тип нового культурного героя із царини спорту. Методами дослідження є історико-культурний, міфопоетичний і порівняльний. Їх застосування дає можливість окреслити генетичний зв’язок образу героя-боксера з літературною традицією; визначити його основні параметри як міфогероя; вказати на точки перетину авторського міфу з міфом американської мрії; розглянути набуття міфологемою Роккі обрисів ідеологеми.Результати дослідження: з’ясовано, що ґенеза образу персонажа-спортсмена сягає неоромантичної традиції. Тоді як міфологізація кіногероя-боксера в культурі ХХ ст. зумовлена активним зверненням до ритуалу і міфу; новою хвилею інтересу до спортивних змагань як втіленням принципу агонічності; популярністю жанру спортивної кінодрами. Разом із тим масову глядацьку аудиторію і потужний інтерпретаційний потенціал персонажа Роккі забезпечував і жанровий синкретизм фільмів про нього: поєднання елементів спортивної драми, фільму-біографії, бойовика, мелодрами з типовими для міфосценарію архетипними ситуаціями. Визначено, що в екранній історії Роккі переплітаються факти з життя боксерів Р. Марчіано, Р. Граціано, героїв спортивних кінодрам і факти біографії самого С. Сталлоне. Зв’язок зі спортом як ритуалом надає фільмам про Роккі міфологічного підтексту і водночас окреслює його «утилітарний» аспект, притаманний американській просвітницькій традиції і орієнтований на практичне застосування переглянутого. Історії боксерських поєдинків кіногероя разом з історіями взаємин із «ближнім колом» сприймаються етапами ініціації на шляху до нового культурного героя у хронотопі, де великий (Філадельфія) і малий (ринг) топоси стають місцями здобуття ним професійного і особистісного визнання. Наголошено, що серед фільмів франшизи виокремлюється четвертий епізод, де Роккі втілює спортсмена-захисника національного способу життя, виступаючи проти боксера з «імперії зла». У такий спосіб герой масової свідомості переходить у міфоідеологему.Висновки. У культовому персонажеві світового кінематографу Роккі Бальбоа зреалізована характерна для людини маси ХХ ст. потреба в нових культурних героях. Завдяки приналежності до двох видовищних сфер – кіно і спорт – персонаж, створений С. Сталлоне, здобув величезну популярність і тривале екранне «життя». Тоді як утвердження Роккі у статусі пев-ної міфологеми, а потім й ідеологеми, зумовило «чудесне» походження як персонажа, тобто поєднання біографій реальних і фікційних прототипів; зв’язок життєвого сценарію з ритуалами; кореляцію морально-етичних переконань героя з ідеями національного міфу американської мрії; його життєві випробування як етапи ініціації в сакральному хронотопі.Ключові слова: фільм «Роккі», міфогерой, ритуал, спортивна драма, хронотоп, ідеологема.