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Journal articles on the topic 'Epic fiction'
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Kleut, Marija, and Ljiljana Pešikan-Ljuštanović. "Uskoks of Senj: Reality and oral poetic fiction." Kultura, no. 174-175 (2022): 93–112. http://dx.doi.org/10.5937/kultura2275093k.
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The paper examines Uskok poems, especially those dedicated to the Uskoks of Senj, primarily from the point of view of the relationship between epic poems and history. The people of Senj worked from 1537 to 1617, fighting as paid soldiers or volunteers on the side of the Austrian Monarchy, but also going on campaigns on their own, fighting almost to the same extent with the Turkish invaders and the Christians from the wider region. In contrast to the relatively short period of eight decades of their historical presence, the people of Senj have survived in the oral epics in a very wide Balkan area over a long period of time covering a wide anachronistic field. The paper presents an assumption that the Uskoks of Senj were a warrior-patriarchal world, one that has created and spread oral epics. There were many events in their real lives that were themed in the oral epics. In addition, those who jumped from the mainland to the Austrian territory and settled in Senj probably carried some songs/ poems in their spiritual baggage, primarily those about Hajduks. And they were ready to create new ones. Thus, the first known records are proof that the early poetic narrative was suitable for depicting the Uskoks of Senj, and then that it survived in time and space. In certain interpretations, to which the second part of the work is dedicated, it is shown on the basis of anthological examples of poems, how the mythical, ritual and the historical intersect in the poetics of oral epic poetry; how the anachronistic field of a particular poem is formed, whether it is about gathering "power and dominance" in wedding processions, about concentrating heroes around certain events, personalities or spaces important for national history, or about opposing worthy opponents, and how it affects the aesthetic values and meanings that are shaped in the poems; how different genre features intertwine in such poems (epic and epic-lyric poetry, for example); and form complex and witty, full of twists novelistic plots. All this contributes to the meaning of the epic story: it seems that the past of one's own community is brought into a meaningful, paradigmatic order, which can serve as a basis for future actions.
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Šemsović, Sead. "Alija Bojičić – Between Historical Ancestors and Epic Biography." Društvene i humanističke studije (Online) 7, no. 3(20) (October 30, 2022): 13–26. http://dx.doi.org/10.51558/2490-3647.2022.7.3.13.
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The correlation between a person and a character has always attracted the attention of researchers in both oral and written literature. The main difference is that researchers of oral epics always undertook detailed searches for the historical figure based on which the epic hero was created, while the latter more often recognized the writer himself and his private life within his artistic fiction. Alija Bojičić represents one of the most important heroes of Bosniak oral epics, whose action will be in the border area of Bosnia and Dalmatia, and the poems in which he appears are often classified in the uskok/hajduk epic cycles. History has offered at least three historical figures who could have served the epic singer to create this character. It can certainly be said that the oldest historical ancestor had the greatest influence on the features and characteristics of this epic hero. So far, research into the relationship between personality and character in Bosniak oral epics has focused on Alija Đerzelez and Mujo Hrnjica, while Alija Bojičić remained on the sidelines.
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FELTEN, Agnès. "Le « je » lyrique à l’épreuve de l’épopée chez Laurent Gaudé et Pascal Quignard." ALTRALANG Journal 5, no. 3 (December 31, 2023): 47–61. http://dx.doi.org/10.52919/altralang.v5i3.343.
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ABSTRACT: This article examines the relationship between the epic and the use of the first person, which is reserved for fictional narratives of an autobiographical nature. How to say "I", how to say oneself in an epic supposed to tell the story of another character? How can the vision of oneself be staged? How can one show oneself as other, while remaining oneself? Mythological heroes borrowed from the common epic culture are the foundation of Pascal Quignard's and Laurent Gaudé's stories. Narcissus, Pluto or Orpheus are the symbolic bases of fiction, or even of autofiction, and feed the contemporary narrative with an epic dimension that goes beyond the simple fact of telling. This is why we are interested in the ability of Laurent Gaudé and Pascal Quignard to give an epic impression to their writing, which is deeply marked by the presence of a constantly renewed first person
RÉSUMÉ : Cet article se propose d’étudier les rapports entre l’épopée et l’utilisation de la première personne réservée plutôt aux récits de fiction à portée autobiographique. Comment dire « je », comment se dire soi dans une épopée censée raconter l’histoire d’un personnage autre ? En quoi la vision de soi peut-elle être mise en scène ? Comment se montrer autre, tout en restant soi-même ? Les héros mythologiques empruntés à la culture épique commune sont le fondement des récits de Pascal Quignard et de Laurent Gaudé. Narcisse, Pluton ou encore Orphée sont les bases symboliques de la fiction, voire de l’autofiction et nourrissent le récit contemporain d’une dimension épique dépassant le simple fait de raconter. C’est pourquoi nous nous intéresserons à la capacité possédée notamment par Laurent Gaudé et Pascal Quignard de donner une impression épique à leur écriture profondément marquée par la présence d’une première personne constamment renouvelée.
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Hammer, K. Allison. "Epic Stone Butch." TSQ: Transgender Studies Quarterly 7, no. 1 (February 1, 2020): 77–98. http://dx.doi.org/10.1215/23289252-7914528.
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Abstract Through application of the contemporary term transmasculinity and the more historical stone butch, the author questions the critical tendency to perceive American writer Willa Cather only as lesbian while ignoring or undertheorizing a transgender longing at play in her fiction, short stories, and letters. While biographical evidence must not be approached as simply coterminous with literary production, as literature often exceeds or resists such alignments, Cather's letters in particular suggest a strong identification with her male fictional alliances. Analysis of her letters alongside two of her most treasured, and disparaged, novels, One of Ours (1922) and The Professor's House (1925), conveys Cather's wish for an idealized masculinity, both for herself and for Western culture, that would survive two coeval historical processes and events: the closing of the American frontier and the First World War. Through what the author calls a stone butch “armature,” she and her characters retained masculine dignity despite historical foreclosure of Cather's manly ideal, Winston Churchill's Great Man, who was for her the artistic and intellectual casualty of the period. Cather expressed the peculiar nostalgic longing present in stone butch, and in the explosion of new forms of transmasculinity in the present. This suggests that historical transgender styles don't disappear entirely, even as new categories emerge.
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Ergashev, Abduolim. "Research Of The Epic “Amir Temur And Boyazid”." American Journal of Social Science and Education Innovations 2, no. 09 (September 14, 2020): 137–40. http://dx.doi.org/10.37547/tajssei/volume02issue09-19.
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The article is devoted to the creation of typical characters and conditions of historical realities and personalities in the epic, genre features and themes of the historical epic, the depiction of historical folk fiction in the epic in the shell of epic poetics, the artistic generalization of the historical period and image, the creation of a historical epic in the Kashkadarya-Surkhandarya epic features, including the role of the school of epic poetry and pedagogical traditions, the interpretation of images in the epic “Amir Temur and Boyazid”, his role in the all-Uzbek epic and ideological and artistic features.
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Ng, Kenny K. K. "Theory and Practice of the Long Novel." Prism 17, no. 2 (October 1, 2020): 326–52. http://dx.doi.org/10.1215/25783491-8690412.
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AbstractThis article examines the promises and predicaments of May Fourth writers in their experimental writing of the “long novel” (changpian xiaoshuo 長篇小說) as a Chinese brand of the modern epic. May Fourth intellectuals showed a conscious effort to institute a new brand of fictional genre to enlighten the reading public. Yet their “education of the novel” was far from complete, as New Literature writers found fictional expressions primarily in the form of the short story, with strong undertones of individualism, subjective lyricism, and elitism. By focusing on Mao Dun's 茅盾 (1896–1981) Ziye 子夜 (Midnight; 1933), the article examines his call for the establishment of the long novel and his strenuous efforts to “take over” the modern novel as an ideological form to narrate a teleological progression of history. How do Mao Dun's fictional narratives illuminate the representational problems between fiction, locality, and modernity? For Mao Dun and his May Fourth contemporaries, modernity at large was expressed in a teleological mode of time and progress, both in the rhetoric of modernity and in fiction writing. The article reflects on Mao Dun's creative and ideological impasse by teasing out the narrative loopholes of traditional voices and popular fictional registers in the modern epic.
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Werle, Dirk. "Knowledge in Motion between Fiction and Non-Fiction." Daphnis 45, no. 3-4 (July 18, 2017): 563–77. http://dx.doi.org/10.1163/18796583-04503011.
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In epic poems of the seventeenth century written in German about the Thirty Years’ War, knowledge is set in motion, especially in the context of genre change and shifts in the generic tradition as well as in the conflictive area between fiction and non-fiction. The generic adjustments are partially caused by the transfer of a Greek and Latin genre model into German. This is illustrated by two examples, Martin Opitz’s Trost-Getichte in Widerwärtigkeit des Krieges, first published in 1633, and Georg Greflingerʼs Der Deutschen Dreißig-Jähriger Krieg, published in 1657.
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Manuwald, Gesine. "‘FACT’ AND ‘FICTION’ IN ROMAN HISTORICAL EPIC." Greece and Rome 61, no. 2 (September 12, 2014): 204–21. http://dx.doi.org/10.1017/s0017383514000047.
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In the second half of the third centurybceRoman historical epic (notably that written by Naevius and Ennius) and Roman historiography (notably that of Fabius Pictor) came into being at roughly the same time. Whether and in what ways these two literary forms may have mutually influenced each other in their early development is a matter of debate, but it is obvious that there are both similarities and a generic difference, demonstrated by the use of prose or verse respectively and the accompanying style. Such characteristics enable a distinction between different types of narrative, even if the same events in Roman history are covered.
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Khomushku, M. R. "The female image of Dangyna in the linguistic picture of the Tuvan world." Vestnik of North-Eastern Federal University History Political Science Law 21, no. 2 (July 1, 2024): 211–27. http://dx.doi.org/10.25587/2222-5404-2024-21-2-211-227.
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The article is devoted to the linguocognitive analysis of the image of Dangyna in the linguistic picture of the Tuvan world. The aim of the article is to analyse the image of Dangyna in the linguistic worldview of the Tuvan people, which has undergone transformations from ancient folkloric representations to fiction and modern reality. Dangyna is the daughter of the Khan, the bride of the main hero in epic works. In the popular perception of the Tuvinians, Dangyna appears as the ideal young woman, a companion of the hero, combining beauty, kindness and, despite her young age, intelligence, inner strength and flexibility of character. Thus, the image of Dangyna reflects not only a fragment of the aesthetic vision of the Tuvan world, but also the social role of a woman, an assistant, an adviser to the hero, whose extraordinary wisdom allows her to inspire a man to military exploits, while remaining in the background of epic events. The image of the Dangyna in the traditional ethical and moral representations of the Tuvinians has feminine virtues, which are most widely revealed in epic and fairy-tale folklore, transformed into myths. In modern works of fiction, the image of Dangyna manifests itself in two ways: as a national standard of comparison for literary heroines; as a special character in fiction. The results of an associative experiment and observation of contemporary events related to the spiritual and cultural values of Tuvan society show that modern ideas among speakers of the Tuvan linguistic culture mainly preserve ancient ideas about femininity in the image of Dangyna. The result of the analysis showed that the evaluative component of the image helps to reveal the peculiarity of this image. Dangyna's appearance and inner qualities complement each other, creating an ideal image of femininity in the popular imagination. The study is based on a linguocognitive analysis of Tuvan epics, fairy tales, non-fabulous prose, Tuvan fiction, the results of an associative experiment, and observations of modern social phenomena.
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Plastina, Sandra. "Mythological Epic and Chivalric Fiction in Moderata Fonte's and Lucrezia Marinella's Poems." Análisis. Revista de investigación filosófica 4, no. 2 (January 5, 2018): 277–95. http://dx.doi.org/10.26754/ojs_arif/a.rif.201722476.
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This article focuses on Lucrezia Marinella’s L’Enrico, ovvero Bisanzio acquistato (1635) and Moderata Fonte’s Tredici canti del Floridoro (1581). Marinella’s epic, or ‘heroic,’ poem belongs to a genre not well represented in women’s writings, while Fonte’s work is the first original chivalric poem written by a woman, an Italian woman who grappled with epic and chivalric romance. These genres were so elite and laborious that they discouraged all but the most enterprising writers of either sex. The female warriors of epic, the women’s aptitude for martial arts, and the increasing openness to female involvement in battle correspond to a shifting emphasis in warfare from physical force to mental agility and astuteness. No attempt will be made here at a comprehensive treatment; rather the focus of the article will be on the question of how women in this period responded to what might be broadly termed the gender politics of chivalric works.Keywords: Moderata Fonte, Lucrezia Marinella, Gender roles, Gender attitudes, Fiction, Epic, force (physical and mental)
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ALÇIN, Halis, and Elif Özdemir. "Ronald B. Tobias’ın Kurgu Teorisi Bağlamında Sarı Saltık’ın Kaf Dağı Seferi." International Journal of Social Sciences 6, no. 26 (August 28, 2022): 152–69. http://dx.doi.org/10.52096/usbd.6.26.10.
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Saltık-nâme is a text describing the adventures of the hero, who is known by different names (such as Sarı Saltık, Hızır, Şerif, Server) and who led the people with his religious and military characteristics during the Turkification of Anatolia and the Balkans. Saltik Gazi Epic has been published many times by different researchers under the name of Saltıknâme. While there were missing chapters and pages in the previous publications, the relatively recent copy in Necati Demir's personal library has a complete beginning and end. According to this copy (ND), the work consists of 3 volumes and 42 chapters. Saltık-nâme, one of the literary texts of Turkish Folk Literature that depends on the principle of narration, has a rich content that includes the features of different narrative genres. In Saltık-nâme, it is possible to find the features of the myth, romance and novel genres of Western literature, as well as the features of literary genres such as legends, tales, epics, menakibnames and folk tales belonging to the old periods of Turkish Literature. In this study, the fictional structure of the fable-like episode "Sayyid Sharif's Going to Mount Kaf" was examined, and examples from the text were given by taking 20 basic fiction-type scales that Ronald B. Tobias stated in his book "The Art of Writing Novels". In the study, sampling and comparison method was used. In the conclusion part, it is proposed to carry out studies similar to the "Death of King Arthur" narrative according to the findings. Keywords: Saltık-nâme, Sarı Saltık, Mount Kaf, Narrative, Epic, Tale, Ronald B. Tobias, Fiction
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Mashrapova, Gulsanam Ahadovna. "The Role Of Narrator In The Structure Of The Artistic Fiction." American Journal of Social Science and Education Innovations 03, no. 03 (March 31, 2021): 378–83. http://dx.doi.org/10.37547/tajssei/volume03issue03-57.
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This article considers about the image of a narrator, their difference from an author and a storyteller who is the first person “I”, the significance and crucial role in the structure of works pertaining to epic, lyric and dramatic poetry.
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Sharma, Ms Shikha. "Doris Lessing’s Science Fiction." SMART MOVES JOURNAL IJELLH 8, no. 7 (July 27, 2020): 167–76. http://dx.doi.org/10.24113/ijellh.v8i7.10673.
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Doris Lessing, the Nobel Laureate (1919-2007), a British novelist, poet, a writer of epic scope, playwright, librettist, biographer and short story writer. She was the “most fearless woman novelist in the world, unabashed ex-communist and uncompromising feminist”. Doris has earned the great reputation as a distinguished and outstanding writer. She raised local and private problems of England in post-war period with emphasis on man-woman relationship, feminist movement, welfare state, socio-economic and political ethos, population explosion, terrorism and social conflicts in her novels.
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Zhuzhgina-Allahverdian, T. N. "FUNCTIONING OF OYCONYMS AND URBANONYMS IN AN EPIC NARRATIVE." INTELLIGENCE. PERSONALITY. CIVILIZATION, no. 1 (22) (June 30, 2021): 40–48. http://dx.doi.org/10.33274/2079-4835-2021-22-2-40-48.
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Objective. The objective of the article is to study the principles and specifics of functioning oyconyms and urbanonyms in the epic narration as a part of the lexical-semantic system of the language. Methods. The main scientific results are obtained by an onomastic method, extralinguistic analysis, structural-paradigmatic and lexical-semantic analysis. The cognitive method states in the urbanonymic paradigm the key functional features of urban names in the epic and song-epic narration. Results. The toponyms and their varieties are found under the influence of fiction of ancient epics, ballads and folk songs, as well as chronicle and chronicle literature. But in the epic text, attention to the epic event and imidge is often more important than chronological accuracy, because in the epic narration the time is subordinated to the artistic aspect. The medieval epics differs from the chronicle narration, which must be documented. In the ballad the name acts as a poetonym (symbol) and at the same time functions as a deixis, which indicates historical events and manifests as a chronological marker of action. In epic text the oyconyms and urbononyms act as signs of ancient culture, take on the function of the coordinates of the medieval locus. They acquire in the literary text the meaning of toponymic and oyconymic concepts. Famous place names act as artistic symbols, at the same time confirming historical facts, battle scenes, etc. Toponyms are involved in the formation of historical-geographic and landscape-geographic descriptions, influence the mention politics, economics, trade, culture, specialties of business, identify the function of documenting text, linking to the locus. In the literary context is the medieval interest to linking urban area with names and including toponyms that mark the historical and discursive space and form new lexical and semantic fields. They themselves create a lyrical tonality and special atmosphere, in which the historical theme is similar to literary and poetic ones.
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Rocha, Fabian Quevedo da. "From the fairy tale to the epic." Literartes 1, no. 12 (December 8, 2020): 206–22. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2020.168942.
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This work analyses how Tolkien uses elements of the fairy tale and the epic genre to write his novel The Hobbit. Published in 1937, J. R. R. Tolkien's first published novel is frequently seen as a fairy tale. In addition, by using the author's essay "On Fairy Stories" to analyze his own fiction, it is possible to argue that it has most of the characteristics he ascribes to the fairy tale genre: it takes place in a consistent secondary world, it satisfies several human desires, such as the one of glimpsing other worlds and the one of conversing with other beings; more importantly, it has a "happy ending", which is, par excellence, the essence of the genre for the author. However, a close reading of such fiction reveals that its light tone is slowly replaced by a darker one, typical of ancient narratives like the epic poem Beowulf. This research, therefore, investigates how Tolkien builds a narrative that begins with the sobriety of the fairy tale, reaches a climax characteristic of the epic, and closes with a bittersweet taste that mixes traces of both genres. To do so, I rely on Tolkien's own theories concerning such genres.
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Walker, Julia M. "Spenser's Elizabeth Portrait and the Fiction of Dynastic Epic." Modern Philology 90, no. 2 (November 1992): 172–99. http://dx.doi.org/10.1086/392055.
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Chayanika Roy. "Reversing the Gaze: Subversion and Re-interpretation of Mythical Stereotypes in Chitra Banerjee Divakaruni’s The Palace of Illusions." Creative Launcher 6, no. 2 (June 30, 2021): 113–18. http://dx.doi.org/10.53032/tcl.2021.6.2.16.
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Epics are indeed an indelible part of our existence carrying us into the timeless history where reality and fantasy blends into a harmonious whole. A diasporic women writer re-creating myth and folklore in a contemporary context and re-telling a popular epic Mahabharata from Draupadi’s perspective is monumental and extraordinary. There have been sudden inclinations on part of the contemporary writers to re-interpret the epics in a new light highlighting the women characters who have been otherwise neglected in the original story as tangible subjects. Usually, epic narratives portray women on an ideological viewpoint; women being embodiments of perseverance and forbearance, mute spectators of misery and injustice perpetrated on them. But Divakaruni re-created the women characters by assigning them a voice of their own so that they become strong enough to express their choices and by living their own bodies vis-à-vis lives. The mystifying feminine psyche of the mythical women characters is unfolded before the readers and many unknown crevices of the inner mind are laid bare. These impressions and explorations of the epic characters were actually a hidden trope for self-discovery and articulation. The Palace of Illusions is a re-creation of the illusionary, magical world of Draupadi and her dream destination and how this world gets shattered in front of her eyes is not only literal but metaphorical in course of the novel. In an attempt to re-work the epic, the contemporary women writers deviate from the usual phallocentric thrust of the epic and make Draupadi the hero of the novel; subverting the stereo-typed gendered version of an epic. Divakaruni’s fiction strives to subvert the gendered binaries looking at the epic and its magnificent characters and events through Panchaali’s gaze. Thus, the Western model of the male gaze is repudiated and the female gaze is celebrated in an altogether new form. Is the story of Mahabharata a familial clash between fraternity or a woman’s personal desire and Panchaali’s revenge which drenched the country and its inhabitants in the blood is the question that is left open-ended for the readers who revisits Mahabharata through the eyes of Draupadi vis-a-vis Chitra Banerjee Divakaruni.
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Seagren, Ronnie. "A linked index for an oral Tamil folk epic: a case study." Indexer 42, no. 1 (March 2024): 33–52. http://dx.doi.org/10.3828/index.2023.55.
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Some projects have a life of their own, and in this case study Ronnie Seagren presents the experience of a straightforward book indexing project that grew into its own saga, including editing and work with a hybrid publisher. She was asked to index an important medieval Tamil epic story that was both obscure and out of print. This republishing journey took two and a half years. The index had to meet the needs of several very different audiences: Tamil scholars, students comparing epic stories, and a general public just wanting to learn something about South Asian folk culture. Indexing a work of fiction poses specific indexing dilemmas. Working with a small hybrid publisher, where the author bore all of the costs of publishing, posed many more. The project was very specific, but it has implications for indexing both fiction and self-published books.
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Dr. Charu Mehrotra. "A Suitable Boy: Blurring the Line Between Fiction and Non-Fiction." Creative Launcher 7, no. 1 (February 28, 2022): 37–42. http://dx.doi.org/10.53032/tcl.2022.7.1.07.
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Vikram Seth was the son of a judge and a businessman was raised in London and India. He has written about a variety of themes and topics including music, travel, work environments, family, homosexuality and Catholic belief. He wrote poetic novel The Golden Gate and turned to prose in his epic novel, A Suitable Boy. It functions as a political fable, a roman a clef, showing the emerging polity of the newly independent India. Seth has used a variety of characters to show how in the very first decade after independence the mood of the people changed from euphoria to despondence. While debating the role of students in politics, Seth briefly mentions his central theme thus, “Their post-independence romanticism and post-independence disillusionment formed a volatile mixture” (p. 815). His diagnosis-vote-bank politics and communalism as an election tool have corroded the soul of the fledgling Indian democracy.
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Stachura, Paweł. "What Was Expected of William Gibson’s Early Fiction: Themes in Negative Reception." Polish Journal for American Studies, no. 12 (Autumn 2018) (April 30, 2022): 335–49. http://dx.doi.org/10.7311/pjas.12/2/2018.06.
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The article presents various reader responses to Gibson’s early fiction, ranging from reviews, through general discussions of Gibson and cyberpunk, through writings by fans, to scholarly articles. Most of the texts under discussion are relatively recent. The aim of the analysis was to determine what is the function of Gibson’s work nowadays, and what stylistic and thematic features matter for today’s readers. The conclusion is that Gibson’s Neuromancer has been treated as an epic work, performing an “epic incantation” comparable to the functions and stylistics of Walt Whitman’s nation-building poetry, but critics have so far been preoccupied mostly with the ideological aspects of the novel, rather than its literary qualities.
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Mellmann, Katja. "On the Origin of the Epic Preterit." Journal of Literary Theory 13, no. 2 (September 6, 2019): 206–26. http://dx.doi.org/10.1515/jlt-2019-0008.
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Abstract The use of past tense in narrative discourse at first glance seems to imply that the narrated events are lying in the past as compared to the act of narration. However, this intuitive notion was doubted by several scholars in the mid 20th century, among them Käte Hamburger, Harald Weinrich, Émile Benveniste, and Ann Banfield. This article investigates the temporal constitution of literary narratives from a perspective of the biological evolution of Human cognition. My analysis begins with Hamburger’s most disputed claim that in epic fiction the past tense »loses its grammatical function of designating what is past« and proceeds by testing a derived hypothesis against a cross-cultural sample of (mostly oral) folklore. Hamburger denied any temporal relation between the speaker and that which he speaks of, assuming instead a fictitious neverland in which the narrated events are situated and to which the preterit refers. If Hamburger’s model is correct, so the derived hypothesis goes, then the use of past tense in fictional narratives is merely a cultural convention, and different narrative traditions should expose different conventions. Indeed it can be shown that in other cultures stories are told in the present tense, in infinitive verb forms, or in forms indicating abstractness or remoteness. It can be followed that Hamburger was right at least in presuming that reference to the past is not a necessary constituent of verbal storytelling. Actually, instead of referring to the past, the epic preterit rather seems to indicate a change in the modality of speaking, thus adhering to the category of grammatical mood rather than tense. In some languages of oral cultures, however, this presumed mood shows up instead as a way of indicating the source of information. This kind of source information – fully grammaticalized in a quarter of the world’s languages – is called ›evidentiality‹ by linguists. In a phylogenetic perspective on the evolution of cognition, source information only becomes necessary with extended inferential and communicative capabilities and may thus have emerged as a cognitive tool in early humans when entering the ›cognitive niche‹. Evidentiality markers in language may thus be the linguistic reflex of a very ancient cognitive scope category in the innate architecture of the human mind, one which served to separate first-hand experience from reported knowledge. In oral storytelling, evidentiality is marked not only by specific verb forms but also by specific formulas (›they say‹/›it is said‹), intonations, or rhetorical devices. From this perspective, the phenomenon observed by Hamburger and others can be said to originate in the beginning of Tradition – that is, of verbal transmission of cultural knowledge. My hypothesis is that literary narratives in literate cultures still use this ancient cognitive scope operator of ›tradition‹ when employing the epic preterit. Admittedly, in literate cultures it often suffices to put »A novel by« on the title page in order to signal the categorical otherness of narrative fiction. Yet still, authors employ additional means to evoke the atmosphere of a ›murmuring conjuring‹ – as Thomas Mann once called it – that creates the impression of an objective world of tradition behind the individual story told. I point toward examples in literary first-person narratives, because homodiegetic narration – in contrast to Hamburger’s classical case of heterodiegetic narration – shows a continuous spatio-temporal relation between speaker and that which he speaks of and thus requires additional means or efforts to signal a break between the ordinary world of first-hand experience and the world of the literary. Since Hamburger once treated the epic preterit as a signal of fictionality, I briefly discuss the notion of fiction in the last paragraphs of my paper. I consider ›fictionality‹ to be a late cultural concept in literate societies that is not identical with the cognitive category of ›tradition‹ but is ultimately made possible by the existence of the latter.
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Mani, Kujtim. "Lute and Canon: Millosh Encounters Miloš." Balkanistic Forum 32, no. 1 (January 15, 2023): 74–93. http://dx.doi.org/10.37708/bf.swu.v32i1.5.
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This paper seeks to examine the epic and canonical status of the lute and songs of the Kosovo Cycle in both, Albania and Serbia. The interplay of epics with national identity and political aims will be scrutinized, with a particular focus on the nexus of imagination, identity, and history. Moreover, the Kosovo Cycle of Serbs, takes a central position concerning the fall of the medieval state following from the Battle of Kosovo (1389). On the other hand, the Albanian Cycle is more consecrated to the hero as an individual, a brave loyal nobleman and honest chevalier who fights for his besa as code d’honeur. Millosh Kopiliqi/Miloš (K)obilić, the hero of the Battle of Kosovo, is without doubt the most chevaleresque figure of the cycle, in Albanian and Serbian songs. Why the lute became an identity corner stone of Albanians, Serbs, and the other nations in the region? Figuratively speaking, it is the lute epic space of the Kosovo Cycle in Albanian and Serbian where Millosh encounters Miloš and historical truth and imaginary encounters fiction.
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Wisniewski, Mark. "Tolkien fanzines, fandom and the literary tradition in the 1960s." Journal of Fandom Studies, The 12, no. 1 (March 1, 2024): 3–18. http://dx.doi.org/10.1386/jfs_00086_1.
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This article summarizes the manner in which fanzine authors contextualize J. R. R. Tolkien’s fiction within diverse literary traditions. Although rarely the topic of academic discussions in the 1960s, fanzine authors regularly contextualize The Hobbit, The Lord of the Rings, and Tolkien’s unfinished fiction in terms of genre, canon and literary tradition. After examining and categorizing the authors and texts discussed in 80 fan letters and articles, I found that fan authors are almost evenly divided in the ways they contextualize Tolkien’s fiction: as part of the fantasy tradition, as an inheritor of the epic or mythological genealogy, or as part of a third more eclectic tradition.
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BOLATOVA (ATABIEVA), A. D. "CRITERIA OF EPICNESS AND NARRATIVE STRATEGIES OF A. TEPPEEV’S NOVEL “THE SIRAT BRIDGE”." Kavkazologiya, no. 3 (2021): 229–46. http://dx.doi.org/10.31143/2542-212x-2021-3-229-246.
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The article highlights the issues concerning the genre-forming features of the epic novel, the forms of manifestation of the epic in a work of fiction. The consideration of the above-mentioned problems provides for the presence in the structure of the work of a theoretical preamble reflecting the characteristics of epopees’ accepted in literary studies (historicism, heroics, a wide panorama of people's life, the reconstruction of an epic picture of the world, a multidimensional reflection of reality, pronounced drama, historical and cultural context, social typing, a cross-section of the epoch refracted in the destinies of people) and the subsequent detailed analysis of local examples from the epic text. In order to identify the desired qualities (epic features) in the national novel, a holistic view of the laws of the formation of the genre is given, defining the epic as an indicator of the level of development of literature, the evolution of the historicism of the artist's thinking. The main attention in the study is focused on the study of structural and content particulars and narrative strategies in the novel "The Bridge of Sirat" by the Balkar prose writer A. Teppeev. The applicability of the proposed evaluation criteria when analyzing the compositional features of the work justifies its positioning as an epic narrative.
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Beaver, Harold, and Chester L. Wolford. "The Anger of Stephen Crane: Fiction and the Epic Tradition." Yearbook of English Studies 17 (1987): 340. http://dx.doi.org/10.2307/3507742.
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Wenzel, Jennifer. "Epic Struggles over India's Forests in Mahasweta Devi's Short Fiction." Alif: Journal of Comparative Poetics, no. 18 (1998): 127. http://dx.doi.org/10.2307/521884.
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Gall, Alfred. "An Odyssey without Homecoming." Polish Review 68, no. 2 (July 1, 2023): 72–89. http://dx.doi.org/10.5406/23300841.68.2.07.
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Abstract Recent scholarship has drawn attention to the impact of war, occupation, and the Holocaust on Stanisław Lem's literary work. This article attempts to further explore this subject. Its aim is to show how Lem in Powrót z gwiazd [Return from the stars, 1961] depicts the return from space travel as analogous to coming home from war. This analogy is based on a complex interplay between the science fiction narrative on the one hand and references to the Homeric epic poem The Odyssey on the other. The article highlights some peculiarities of this intertextual fabric of Return from the Stars. From this point of view, the science fiction work forms, in Adorno's term, a “constellation” with the epic tale. In this constellation the science fiction narrative exposes in its transtextual interplay with the Greek tradition the deheroization of the hero as well as the ambiguities of a biopolitically organized society in the future. With the transtextual reassessment of the mythical narrative and the emerging literary representation of an odyssey without homecoming, Lem's novel exemplifies a fundamental dismantling of positivity. Seen from this angle, the science fiction novel can be situated in the context of postwar Polish literature which in its attempts to come to terms with the traumatic experiences of war and occupation challenges or even rejects a cultural heritage of traditions and values that have—in the wake of World War II—lost their immanent value.
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Gaziyeva, Masmakhanım Yusif. "Problems of Linguoculturological Analysis of Epics." Advances in Social Sciences Research Journal 9, no. 11 (December 6, 2022): 461–68. http://dx.doi.org/10.14738/assrj.911.13500.
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The article deals with the issue of linguoculturological analysis of works of fiction based on the texts of the epics "The Book of Dede Gorgud" and "Beowulf". The study addresses the analysis issues arising from the differentiation of linguistic units used in the process of describing parallel phenomena in the two epics, as a result of their connection with national culture. The differences are evident in the consumables used in everyday life, in the expression of time by different numbers. The societies described in the two epics have their own rules. In these societies, there are similarities, similarities in the behaviour of individuals performing similar tasks, in relation to the work performed. The study shows that the linguo-cultural systems identified in the process of linguo-cultural analysis of epic texts are not unambiguous. As a result, certain difficulties arise when translating them from one language to another.
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Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (September 25, 2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.
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AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of contemporary poetics and as such often commented on in contexts involving questions of fictionality and the relationship between literature and truth, both in poetic treatises and in the poems themselves. To reconstruct a historical understanding of fictionality, the genre of the epic poem must therefore be taken into account.The carmen heroicum was the central narrative genre in antiquity, in the sixteenth century in Italy and France, and still in the seventeenth century in Germany and England. Martin Opitz, in his ground-breaking poetic treatise, the Buch von der Deutschen Poeterey (1624), counts the carmen heroicum among the most important poetic genres; but for poetry written in German, he cites just one example of the genre, a text he wrote himself. The genre of the novel is not mentioned at all among the poetic genres in Opitz’ treatise. Many other German poetic treatises of the seventeenth century mention the importance of the carmen heroicum, but they, too, provide only few examples of the genre, even though there were many Latin and German-language epic poems in the long seventeenth century. For Opitz, a carmen heroicum has to be distinguished from a work of history insofar as its author is allowed to add fictional embellishments to the ›true core‹ of the poem. Nevertheless, the epic poet is, according to Opitz, still bound to the truthfulness of his narrative.Shortly before the publication of Opitz’ book, Diederich von dem Werder translated Torquato Tasso’s epic poem Gerusalemme liberata (1580); his translation uses alexandrine verse, which had recently become widely successful in Germany, especially for epic poems. Von dem Werder exactly reproduces Tasso’s rhyming scheme and stanza form. He also supplies the text with several peritexts. In a preface, he assures the reader that, despite the description of unusual martial events and supernatural beings, his text can be considered poetry. In a historiographical introduction, he then describes the course of the First Crusade; however, he does not elaborate about the plot of the verse epic. In a preceding epyllion – also written in alexandrine verse – von dem Werder then poetically demonstrates how the poetry of a Christian poet differs from ancient models. All these efforts can be seen as parts of the attempt to legitimate the translation of fictional narrative in German poetry and poetics. Opitz and von dem Werder independently describe problems of contemporary literature in the 1620s using the example of the carmen heroicum. Both authors translate novels into German, too; but there are no poetological considerations in the prefaces of the novels that can be compared to those in the carmina heroica.Poetics following the model established by Opitz develop genre systems in which the carmen heroicum is given an important place, too; for example, in Balthasar Kindermann’s Der Deutsche Poet (1664), Sigmund von Birken’s Teutsche Rede- bind- und Dicht-Kunst (1679), and Daniel Georg Morhof’s Unterricht von der Teutschen Sprache und Poesie (1682). Of particular interest for the history of fictionality is Albrecht Christian Rotth’s Vollständige Deutsche Poesie (1688). When elaborating on the carmen heroicum, Rotth gives the word ›fiction‹ a positive terminological value and he treats questions of fictionality extensively. Rotth combines two contradictory statements, namely that a carmen heroicum is a poem and therefore invented and that a carmen heroicum contains important truths and is therefore true. He further develops the idea of the ›truthful core‹ around which poetic inventions are laid. With an extended exegesis of Homer’s Odyssey, he then illustrates what it means precisely to separate the ›core‹ and the poetic embellishments in a poem. All these efforts can be seen as parts of the attempt to legitimize a poem that tells the truth in a fictional mode.The paper argues that a history of fictionality must be a history that carefully reconstructs the various and specifically changing constellations of problems concerning how the phenomenon of fictionality may be interpreted in certain historical contexts. Relevant problems to which reflections on fictionality in seventeenth-century poetics of the epic poem and in paratexts to epic poems react are, on the one hand, the question of how the genre traditionally occupying the highest rank in genre taxonomy, the epic, can be adequately transformed in the German language, and, on the other hand, the question of how a poetic text can contain truths even if it is invented.
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Schacherl, Martin. "Zeyer’s Epicism and Lyricism." Studia Slavica Academiae Scientiarum Hungaricae 66, no. 1 (April 22, 2022): 189–98. http://dx.doi.org/10.1556/060.2021.00015.
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This paper aims to explore the literary creations of the Czech poet Julius Zeyer (1841–1901) within the complexity of his poetic works, except dramas. The poet, prosaist, and dramatist Julius Zeyer ranks among the classic Czech authors active in the second half of the 19th century. Literary historians traditionally link him with the Lumír generation but he is often grouped also with the New Romantics contributing to periodicals Ruch, Lumír, and Květy, or, possibly, with the ‘sensitives’ of the 19th-century European culture.His works comprise texts of indisputable, time-honoured value, beside the texts on the verge of conventional fiction. Quantitatively, the literary production of Julius Zeyer comprises more than two thirds of epic works; almost two fifths are dramas; only a few of them are (purely) lyrical poems representing just a fraction of his comprehensive output. The proportions of the explored poetry and prose also feature two-third ratio in favour of prose against (in Zeyer, mostly epic) poetry.The starting point of our search for specific features of his authorial style was the accentuation of Zeyer’s “epicism” and “lyricism” in references, i.e. throughout the overall reception of the poet’s texts, regardless of literary genres, often coexisting in contradictory meanings. Specifically, this study aims at the identification and linguistic analysis of selected devices to convey epic and lyric aspects in Zeyer’s epic poetry and prose.Despite the dominant representation of epics and prose, Zeyer’s style shows distinctly lyrical features, even within the extent of his production as a whole. The lyrical nature of his epic works is enhanced by his exclusively visual imagery, purposely different from common speech, with stylistically marked bookish and archaic elements, bearing the marks of literary art nouveau.In the middle and final stages of the poet’s creative career, his lyricism is enhanced by the changing rhythm of his narrative accentuated by the receding textual dramatization; by a greater share of non-narrative segments in the story; and through the tension ensuing from the contrasts between subjectivity / objectivity; between personification / impersonality; or between outer / inner perspective of the narrative, based on the linguistic form of concrete fictional texts and on the concrete perspective in which the story is actually mediated. Displayed in all of his literary works, lyricism is a characteristic and permanent feature of Julius Zeyer’s authorial style.
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Mikhnovets, Nadezhda G. "“The Pugachevites” by E. A. Salias in the Reception of F. M. Dostoevsky: on the Epic Character of the Russian Novel." Two centuries of the Russian classics 3, no. 4 (2021): 92–113. http://dx.doi.org/10.22455/2686-7494-2021-3-4-92-113.
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The article analyzes the nature of the interaction between first-line literature and fiction in the 1860–1870s as dynamic, versatile and dialogical. It is argued that the historical novel by E. A. Salias “The Pugachevites” (1874), based on the discoveries of the epic novel “War and Peace” by L. N. Tolstoy, testified to the process of strengthening the epic tendency in Russian literature of the 19th century. The novel by E. A. Salias was not exclusively secondary, the portrayal of the “predatory type” hero became innovative, but not deeply understood by the fiction writer. It is noted that further development was undertaken by F. M. Dostoevsky at the first stage of the creation of the novel “The Adolescent”. Its distinctive feature was the consideration of the “predatory type” in the context of the Russian history of spiritual quests of the 17th–19th centuries. The description of the stages of development of the type by F. M. Dostoevsky made it possible to come to the conclusion that the process of cognition of the Russian character, the identification of the laws of the historical development of Russia presupposed a versatile comprehension of the national foundations of life, which predetermined the epic character as the leading feature of the Russian novel of the second half of the 19th century.
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Bora, Prerona. "Recreating Draupadi: A Study of Chitra Banerjee Divakaruni’s The Palace of Illusions." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 28, 2021): 297–308. http://dx.doi.org/10.24113/ijellh.v9i5.11067.
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Mythological retellings have explored those issues of the epics which were submerged in the objective representation of the events. Redefining the existence of the epical characters, these revisionist writings have presented the events from the alternate perspectives. With an attempt to deconstruct the concept of ‘truth’, the contemporary mythological retellings have tried to demystify the dominant ideologies, and for this purpose they had brought into forefront the overlooked characters. In the grand narrative of the epics like the Ramayana and the Mahabharata the perspectives of the women characters were often overlooked; at the same time the objective representation of the events could not provide the necessary space to delve deep into their psyche. Therefore, ample numbers of the contemporary mythological retellings have highlighted the lives of the women characters of the epics, by presenting the events from their perspectives to explore those facets of the ‘truth’ which were overlooked in the source texts. This research article has attempted to reconstruct the identity of Draupadi of the Mahabharata by focusing on her character as depicted by Chitra Banerjee Divakaruni in her The Palace of Illusions, a wonderful mythological fiction reinterpreting the events of the epic Mahabharata from Draupadi’s perspective. Adopting a feminist stance, this research article has explored Draupadi’s resistance to patriarchal domination, and in this way, here an attempt has been undertaken to reassert her individuality and to redetermine her role in the epic.
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Alker, Gwendolyn. "Stretching the Truth Way into the Future: Cynthia Hopkins's The Success of Failure (Or, The Failure of Success)." TDR/The Drama Review 54, no. 1 (March 2010): 167–71. http://dx.doi.org/10.1162/dram.2010.54.1.167.
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Cynthia Hopkins is the latest “It-girl” on the contemporary theatre scene of New York City. Her recent The Success of Failure (Or, The Failure of Success) is the third installment of the Accidental Nostalgia trilogy, a poetic and enigmatic multimedia epic that is part autobiography, part science fiction, part none of the above.
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Boldea, Iulian. "Nicolae Breban – Fiction, Memory and Truth." Acta Marisiensis. Philologia 4, no. 1 (September 1, 2022): 1–6. http://dx.doi.org/10.2478/amph-2022-0059.
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Abstract Nicolae Breban’s work is characterized, as expression and narrative diction, by spontaneity and naturalness, even if, deep down, one suspects the articulations of a program that values a set of essential readings from which Dostoevsky, Nietzsche or Thomas Mann are not missing. The architecture of the work is underpinned by a tension of opposites from which its individuality is born; it is a tension between the vitality of energetic, dominating writing and the lucidity, pessimistic or sceptical, of the perception of the world. Seductive, problematic, polemical, Nicolae Breban’s books reveal the qualities the prose writer has always possessed: lucidity, the fascination of storytelling, obsession with the past, the ideal and anarchy, as well as a rhetoric of the perennial truth of being fixed in the suggestive drawing of the epic.
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Nefyodova, Olena. "Roots to Branches: retrospective and prospective intertextuality of British fanfiction (in works by J. R. R. Tolkien)." 95, no. 95 (July 27, 2022): 14–19. http://dx.doi.org/10.26565/2786-5312-2022-95-02.
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Development of participatory culture together with computer network technologies has given rise to amateur network fiction: fanfiction. Fanfic texts emerge as derivative works of fiction reproducing transformed components of popular canon. The linguistic and cultural importance of fanfiction, underpinned by its overwhelming popularity, explains the urgent need in its comprehensive philological analysis. The article studies intertextuality as the creative principle of fanfiction, introducing the concepts of the intertextual vector of a fiction text, retrospective and prospective intertextuality, and makes use of specific examples to analyse it. A key feature of fanfiction is its intertextual imbalance. Fanfics are derivative texts created by retrospective intertextuality (references to the precedent canon). At the same time, fanfics rarely become precedent texts, weakening their prospective intertextuality. A rare example of intertextually balanced fanfic is the Middle-earth novels by J.R.R. Tolkien. Their retrospective intertextuality relies upon the Anglo-Saxon epic “Beowulf”, Scandinavian and Finnish epics, Old Germanic legends, novels by F. Cooper, and other texts. Such a wide scope of precedent texts makes the novels culturally rich and profound, which, together with their gripping plot and unique characters, ensures their precedence and the balance between retrospective and prospective intertextuality, with the latter implemented in countless fanfics. Prospects for further study include research into canon transformation in fanfics and intertext typology in fanfiction.
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DiTommaso, Lorenzo. "The Articulation of Imperial Decadence and Decline in Epic Science Fiction." Extrapolation 48, no. 2 (January 2007): 267–91. http://dx.doi.org/10.3828/extr.2007.48.2.5.
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Balasubramanian, Balamuralikrishnan, Wenchao Liu, Karthika Pushparaj, and Sungkwon Park. "The Epic of In Vitro Meat Production—A Fiction into Reality." Foods 10, no. 6 (June 16, 2021): 1395. http://dx.doi.org/10.3390/foods10061395.
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Due to a proportionally increasing population and food demands, the food industry has come up with wide innovations, opportunities, and possibilities to manufacture meat under in vitro conditions. The amalgamation of cell culture and tissue engineering has been the base idea for the development of the synthetic meat, and this has been proposed to be a pivotal study for a futuristic muscle development program in the medical field. With improved microbial and chemical advancements, in vitro meat matched the conventional meat and is proposed to be eco-friendly, healthy, nutrient rich, and ethical. Despite the success, there are several challenges associated with the utilization of materials in synthetic meat manufacture, which demands regulatory and safety assessment systems to manage the risks associated with the production of cultured meat. The role of 3D bioprinting meat analogues enables a better nutritional profile and sensorial values. The integration of nanosensors in the bioprocess of culture meat eased the quality assessment throughout the food supply chain and management. Multidisciplinary approaches such as mathematical modelling, computer fluid dynamics, and biophotonics coupled with tissue engineering will be promising aspects to envisage the future prospective of this technology and make it available to the public at economically feasible rates.
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Hellberg, Dustin. "Close Encounters of the Tertiary Kind: Science Fiction as Tertiary Epic." Almagest 10, no. 1 (May 2019): 10–23. http://dx.doi.org/10.1484/j.almagest.5.118329.
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Fleming, Christopher T. "Critical Legal Studies and Narrative Ethics in Contemporary Indian ‘Epic’ Fiction." South Asian Studies 34, no. 1 (November 27, 2017): 81–92. http://dx.doi.org/10.1080/02666030.2017.1402248.
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Hansen, Nils Gunder. "Käte Hamburger og »digtningens logik«." K&K - Kultur og Klasse 34, no. 101 (April 2, 2006): 44–73. http://dx.doi.org/10.7146/kok.v34i101.22325.
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Käte Hamburger, and »the logic of literature«This paper examines the principal content and line of thought in Käte Hamburger’s classic study on the character of fiction, Die Logik der Dichtung, from 1957. Hamburger’s book is an ambitious and original attempt to relate the differences of literary genres and the reader’s phenomenological experience of these differences to linguistic circumstances and a theory of enunciation. The paper first develops the theory of enunciation that marks Hamburger’s linguistic point of departure and thereafter carefully examines her points on epic fiction (third-person narration), which stands as the cornerstone of her theory of fiction. Subsequently her »logical« definitions of lyric poetry, first-person narration, drama and film are summarized. The paper concludes that the work of Hamburger contains extremely valuable contributions to a theory of fiction, but several arguments of both a theoretical and a more pragmatic nature can be raised against it. Furthermore her theory of fiction seems to rest on premises inspired by existential ontology, and these premises remain somewhat blurred.
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Mourey, Marie-Thérèse. "Historizität und Fiktion in Martin Opitzens Versepen." Daphnis 47, no. 1-2 (March 5, 2019): 221–37. http://dx.doi.org/10.1163/18796583-04701008.
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This article seeks to shed new light on well known epic poems by Martin Opitz, especially the Trostgedichte, which were written at the beginning of the war. The relationship between history and fiction is developed through a specific kind of “story telling”, which aims at presenting the protestants as victims of persecution within all Europe, without mentioning the origins and reasons of this specific war in Germany. The author Martin Opitz, as their harbinger, tries to give moral and philosophical support to his readers but also calls for a strong resistance. The different epic works Opitz wrote during his short life can thus be seen as a encrypted and steadily updated comment to the current political and military events.
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Nasiridinova, U. "Imaginary Verbs in the Epic of Manas." Bulletin of Science and Practice, no. 2 (February 15, 2023): 381–87. http://dx.doi.org/10.33619/2414-2948/87/46.
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Imitation is a word that imitates the sound of an animate or inanimate object and shows the state of their movement. The article talks about illusory imitated words, which represent the third group of imitated words, and how this is done, because imaginary words and imaginary verbs are close to each other in morphological structure in terms of meaning. This article mainly discusses the use of imaginary verbs in the Kyrgyz language. I also inverted to several types that are included in the groups forming imaginary verbs they are as follows: 1. To imaginary verbs ending in -й; 2. To imaginary words ending in sounds -т, - к, - п; 3. Imaginary words consisting of nouns and verb (living) origins; 4. Imaginary words formed from unknown (dead) etymology origins; 5. The roots of the find are imitated words that are related to imaginary words. The article mentioned the widespread use of imaginary verbs in fiction, folk tales, epics. It examined the example of imaginary verbs of the Epic of Manas, explanations to them were written, and it was also emphasized that imaginary verbs consist of different roots and imaginary verbs with imitative roots are formed from them.
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Sarakaeva, Elina A. "The Song of Nibelungen Bodies and How They are Described, Idealised and Eroticized. Part I. Der Helt Was Wol Gewahsen..." Corpus Mundi 1, no. 1 (April 20, 2020): 112–34. http://dx.doi.org/10.46539/cmj.v1i1.7.
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The discovery of the medieval heroic epic “Das Nibelungenlied”in the XIX century Germany coincided with the search for new national mythology and symbols within the movement of Romantic medievalism. The heroic epic got a country-wide recognition asa great literary work that was supposed to serve as a source of German values and to reflect the German national character. With this approach the characters of the epic were re-constructed as embodiments of these German values, as ideals to follow. The article analyses the iconography of these characters, the “nibelungs”: the way they were visualized and depicted in fine arts and fiction and what ideological concepts were ascribed to their bodies and appearances. The first part of the article compares the descriptions of Nibelungen characters in the works of German authors of XIX-XXI centuries and compares them to the descriptions in the original text of the poem to see how cultural codes are constructed and interpreted through visualization of human bodies.
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Kurysheva, L. A. "The fight with the dragon in “The Prince Archilabon’s Story”: literary sources, folk tradition and its modernization." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 50–65. http://dx.doi.org/10.17223/18137083/72/4.
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This paper is concerned with reconstructing the reader’s experience of P. S. Orlov, which influenced his plan for The Prince Archilabon’s Story (1750), and analyzing the plot about fighting the dragon in this fiction in the aspect of modernization and resemantization of epic motifs. In episodes of the hero’s fight with the dragon and the adventures with the lions, the direct sources of the Story are the works of old tradition close to folklore forms – The Yeruslan Lazarevich’s Tale, The Brunzwick’s Tale, The Bova Prince’s Tale. Several details indicate that the author was familiar with the living epic tradition. The ethos of the protagonist and his horse in the episode of the heroic deed (the Dragon-Slayer) was rethought in P. S. Orlov’s Story. Unlike the epic model, the hero is encouraged to exploit the horse, the horse itself appears first as an instrument of providence, then as a comrade-in-arms subordinate to the hero, without anthropomorphic features, but spiritually connected with the owner. The epic opponent (dragon) retains external attributes in the Story (locus of habitat, appearance, course of the battle), in the course of the story, loses its chthonic essence (enemy and sink) and turns into the giver and potential assistant of the protagonist. After changing their usual location in the composition, separate epic motifs lose their initial semantics, while another group of epic motifs (falling a horse to its knees, driving a horse into the ground) is reinterpreted or gets an additional explanation.
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Бешукова, Ф. Б., and А. К. Пшизова. "Structural and semantic features of philological prose." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 3(302) (January 24, 2023): 100–106. http://dx.doi.org/10.53598/2410-3489-2022-3-302-100-106.
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В статье рассматриваются новые видовые и жанровые номинации эпической формы - проза non-fiction и филологический роман. Проводится обзор литературно-критических рецепций, на основе которого делаются заключения по вопросу художественно-видовой специфики филологической прозы. Отмечено, что признаки филологической прозы в русской литературе появились уже в 20-х годах XX века и отразились в стремлении авторов перенести приемы научной и литературно-критической статьи в художественный текст, также значительно увеличилась доля присутствия автора и реальных лиц в тексте, причем автор становится полноправным персонажем произведения. Установлено, что основными признаками филологической прозы являются включение в художественный текст значительного пласта литературно-критического и научного дискурса, доминирование реальных, а не вымышленных персонажей. The paper considers new species and genre nominations of the epic form - prose non-fiction and a philological novel. A review of literary and critical recipes is being carried out, basing on which conclusions are made on the issue of the artistic and species specifics of philological prose. Signs of philological prose in Russian literature appeared already in the 1920s and were reflected in the authors' desire to transfer the techniques of a scientific and literary critical article to the fiction text. Also, the share of the presence of the author and real persons in the text significantly increased, with the author becoming a full-fledged character in the work. The research shows that the main signs of philological prose are the inclusion in the fiction text of a significant layer of literary-critical and scientific discourse, the dominance of real rather than fictional characters
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Kalogjera, Branka. "Dynamics beetween 'old' and 'new' ethnicities and multiple identities in Sandra Cisneros' Caramelo." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 109–15. http://dx.doi.org/10.4312/an.40.1-2.109-115.
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The paper takes Candra Cisneros' epic semi-biographical novel Caramelo asa literary insight into dynamics between generations within a single ethnic (Chicano) community, and compares it against classics of the genre in its shifting definition of one's ethnic identity; here the postmodern approach of entwining fiction and fact and awarding them equallegitimacy mirrors the possibility of embracing multiple identities, as exemplified by the novel's protagonist.
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Олена Олександрівна Марутовська. "EMOTIONAL AND RESONANT PROPERTIES POSTMODERNIST SENSORY IMAGE IN ENGLISH EPIC FANTASY TEXTS." MESSENGER of Kyiv National Linguistic University. Series Philology 19, no. 2 (November 28, 2016): 57–65. http://dx.doi.org/10.32589/2311-0821.2.2016.113748.
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This paper explores emotive repercussions of postmodern sensory imagery resultingin shifts from aesthetic meditation to fluctuant wavelike perception of the artistic reality. Apartfrom conventional properties to reflect sensual and instinctive nature of the human being,the paper claims that a sensory image acquires transmedia technocratic traits. The derived modelsof sensory images reiterate in postmodern fiction so as to empower intertextual entertainmenton one hand, and formulate transmedia or technocracies tactics in their implementation.
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Жумаева, Г. З. "The Prophetic Dreams Using as a Fiction Features." Bulletin of Science and Practice, no. 8 (August 15, 2022): 464–69. http://dx.doi.org/10.33619/2414-2948/81/49.
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Рассматривается «проблема сновидений» в художественной литературе и описывается ее место и функции как художественных средств. Основной упор, путем сравнения примеров из древней общетюркской литературы и киргизской эпической поэзии, нами делается на тот факт, что «вещие сны» всегда лежат в основе поворотных этапов событий в произведениях. Можно с уверенностью отмечать, что такие понятия как «вещие сны», «потусторонний мир» и «пророк Хизр», дополняя друг друга, составляют единство. The article deals with the ‘problem of dreams’ in fiction and describes its place and functions as fiction features. The main emphasis, by comparing examples from ancient Common Turkic literature and Kyrgyz epic poetry, we place on the fact that ‘prophetic dreams’ always underlie the turning stages of events in works. Thus, it can be noted with confidence that such concepts as ‘prophetic dreams’, ‘the other world’ and ‘the prophet Khidr’, complementing each other, constitute a unity.
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Tharmenthira, Shopana. "Physiological norms in Silappatikaram." International Research Journal of Tamil 2, no. 2 (February 17, 2020): 53–59. http://dx.doi.org/10.34256/irjt2026.
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Silappatikaram an epic poetry was written by Ilanko Adikal. Silambu and Context (Athikaram) are combined and becomes Silappatikaram. The story of Silmba (Anklet) is therefore called Silappatikaram. It is called the Citizen's Epic because it was sung by ordinary people like Kovalan and Kannaki. It is the book that makes the life of the people very clear. Individuality, Family, Relative, Community Membership, Citizenship are Physiological Sites and characteristics that human beings need to protect, tasks to perform, and the norms by which an ordinary man can live in everyday life. The integrity of the political life, the rise of femininity, the belief in morality are the high principles of the Tamil people; Silappatikaram explains these. It persuades moral principles through fiction. In this way, it is considered to be the study of the Physiological norms of these People's through dance.
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Aćamović, Bojana. "Replenishing the Odyssey: Margaret Atwood’s and John Barth’s Postmodern Epics." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 1 (May 26, 2020): 41–55. http://dx.doi.org/10.4312/elope.17.1.41-55.
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The paper focuses on Margaret Atwood’s novel The Penelopiad and John Barth’s short stories “Menelaiad” and “Anonymiad,” comparing the approaches of the two authors in their postmodernist retellings of Homer’s Odyssey. Both Atwood and Barth base their narratives on minor episodes from this epic, with its less prominent or unnamed characters assuming the roles of the narrators. Using different postmodernist techniques, the authors experiment with the form and content of the narration, combine different genres, and demythologize the situations and characters. In their re-evaluations and reinterpretations of the Odyssey, they create works which epitomize Barth’s notion of postmodernist fiction as a literature of replenishment. The comparative analysis presented in this paper aims to highlight the ways in which Atwood and Barth challenge the old and add new perspectives on Homer’s epic, at the same time confirming its relevance in the postmodern context.