Academic literature on the topic 'Bodyguard romance'

Although the North British hero Arthur (d. 537) is described in medieval romance as a king, he is not so termed in the earliest documents relating to him. The ninth-century 'Historia Brittonum' states merely that he fought 'cum regibus Brittonum' ('alongside kings of the Britons'), but was himself merely 'dux bellorum'. What this means has been long disputed. It has been taken to represent a senior rank in the Roman army, with Arthur as a commander of cavalry forces fighting up and down Britain. Closer analysis shows this as a fantasy. Comparison with medieval Welsh texts indicates that 'dux bellorum' instead corresponds to the Welsh 'penteulu' ('captain of the bodyguard, chief of the royal host'). As commander of the king's bodyguard, the 'penteulu' was the most important of the 24 officers of the court. He had a position of supreme trust, invariably being the ruler's own son or nephew or another man of rank. Setting out his income and status (which included the right to praise by the official poet of the bodyguard), medieval Welsh legal and other sources are thus the most reliable sources of information on what the Arthur of history was and was not.

Starting from Northrop Frye's claim that one of the main characteristics of satire is the element of humor based on the feeling of the grotesque or absurd, but that satire is a critical presentation of social, political and other situations, this paper discusses the elements of humor and satire in the novel The Bodyguard by Radivoje Bojičić, which is already defined in the title as a "pictorial novel". Although pictorial novels in Serbian literature do not have a long and solid tradition, Bojićič's novel about a bodyguard, who as a kind of anti-hero tells about his life's vocation full of temptations and risks, with strong touches of irony, satire and parody, as well as humor that affirms values contrary to those that are recognizable at first glance, enters the ranks of original and self-contained achievements, thus strengthening the humorous-satirical tradition embodied mostly in the work of Branislav Nušić and of Branko Ćopić. The writer achieves a special dimension of the comic in the novel by using the procedure of comic characterization of the main character, the procedure of comic exaggeration (caricatural, hyperbolic, grotesque), the procedure of inserting intertextual sections, in which the main character parodically refers to well-known phrases, platitudes and quotations from domestic literature and culture, and using a linguistic corpus and terminology appropriate to the world in which the main character found himself, but putting in the foreground precisely the language of the main character and highlighting his origin, social status and special dialectal "literacy". Because of all this, it is possible to read this novel not only as a humorous and satirical piece but also as an ethnopsychological anecdote about a primitive, aggressive and naïve man who must be first in everything - especially in heroism.

Throughout history, people always criticize the existing governments and state that they will establish a just order and social justice when they come to power. However, when they come to power, they forget these words and become cruel and cruel. The Egypt of the Middle East, of Nasser, is such a place. Nasser ruled Egypt with an iron fist from the 1952 Coup until his death in 1970. In this sense, Stalin did not lag behind Hitler and Mussolini. If there is anything to be praised about Nasser, it is that he spread education throughout the country. Although Nasser initially criticizes the kingdom, he initially turned his back on the Islamists and leftists with whom he collaborated, and betrayed the confidence of these groups. One of those whose trust was betrayed is Sunullah İbrahim, a left-wing writer who is in prison. At the same time, in this semi-autobiographical novel, İbrahim revealed the cruelty of the regime in his novel Tilke Raiha. Not only that, he also took a poem of Şuhdi Atiyye İbrahim, who paid the price of being on the left side with his life, into his novel and fictionalized it. When you read this novel, you will read Sayyid Qutb's execution, the tortures of Zeynep Gazali, why Nasser's Ikhwan bodyguards were buried alive in the desert, and why people like Shuhdi'Atiyya al-Shafi'i (1913-1960) and Sunullah Ibrahim on the left flank. We will understand why he was imprisoned and tortured. Reading this novel is also to raise awareness by understanding Sunullah İbrahim, who documented Nasser's torture side and her persecution in Egypt with her novel.

Abstract From the time of their creation under Augustus, a variety of guard units under the direct command of the emperors or his court officials acted in a number of roles ranging from military duties to ceremonial appearances in the service of representing imperial power. As with all bodyguard units throughout history, their ceremonial nature was reflected in their appearance during state ceremonies such as accession rituals or imperial funerals, but also in their (ceremonial) equipment and military (court) costume. This chapter shows the slow change in the role and nature of guard units, tracing this evolution from the ‘classical’ guard of the Principate, the Praetorians, to their replacements in the fourth and fifth centuries (the scholae palatinae and excubitores). As part of the pageantry of empire, guard units served to underscore and to represent visually imperial authority and dignity. The evolution of imperial guard units is demonstrated as progressing in step with the general evolution of the imperial court, not so much prefiguring as mirroring the development of new configurations of the court.