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Journal articles on the topic 'Epic literature'
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1
Basirizadeh, Fatemeh Sadat, Narges Raoufzadeh, and Shiva Zaheri Birgani. "The Image of Women in Eastern and Western Epic literature: Shahnameh and Odyssey." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 2 (May 8, 2020): 768–76. http://dx.doi.org/10.33258/birci.v3i2.889.
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The research examines two epics, one from the East and one from the West with regards to the question of woman and her images in early epic literature. The epics were selected from the literature. The epics were selected from the literature of two cultures, both of which, in different historical periods produced the most advanced civilizations of their time. The Persian epic, The Shahnameh (the book of Kings) was tooted in the ancient Indo-Iranian pagan as well as Zoroastrian traditions, an epic of approximately 60,000 couplets rewritten in the tenth century A. D. in the final, completed from which has reached us today. The Greek exemplar was the odyssey of Homer, epic with which Greek literature begins and widely influences not only the later periods of Greek literature but also the entire Western literature; this epic is also widely known in the East. Central to our study of The Shahnameh and Homeric epics were the themes of dynamism, the individuality of characters and their struggles in the epic world, the resourcefulness of the human mind ascribed to them, the subject of human crises, and irony, all of which are deep-seated components marking the central literary qualities of these epics. Women are indispensable in the early epics of both traditions and more often than not highly regarded by epic heroes in general and the narrators of the stories in particular. In both Eastern and Western example the structure split the female image in two opposite directions: one force is represented by exalted, praiseworthy, and positive images which also endow the women of The Shahnameh and the Homeric poems with powerful characteristics.
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M, Radha. "The Epic Tradition in the Song Natrinai." International Research Journal of Tamil 4, S-13 (November 21, 2022): 249–55. http://dx.doi.org/10.34256/irjt224s1336.
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The reason for the pride and richness of a language is due to the grammar and literature that have emerged in the eyes of that language. The epics occupy a significant place in those verses. Homer's Iliad and Odyssey, considered to be the oldest epics in the world, have also been written in accordance with the epic tradition of that language. Indian language epics are also written within the epic tradition of the regional languages. These include the five great and minor epics that have appeared in the Tamil language; the Kamba Ramayanam, the Periyapuranam, etc. However, if we examine whether the Sangam literature, viz., the songs and the thokai, falls within the epic tradition, the Agam and Puram songs contain at least a few of the epic traditions of the Dandiya author. It can be seen that the majority of the epic elements have been matched in the Kalitthokai and the Pathuppaattu Songs. This study is intended to examine how the epic traditions have adapted to the song that has been taken up for the subject matter of the study. In particular, this study has revealed whether the epic grammar of the Dandiya author has been followed.
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Ivanova, Tat’iana Grigor’evna. "ROSTOV-SUZDAL LAND IN EPICS AND ITS CONTRIBUTION TO THE EMERGENCE OF THE EPIC TRADITION." Russkaya literatura 4 (2023): 111–29. http://dx.doi.org/10.31860/0131-6095-2023-4-111-129.
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The epic tradition of the Rostov-Suzdal-Vladimir lands is considered in the light of the thesis concerning the «maternal», «colonial», «regional» and «local» metropolises of the formation of epics. Even though only fragments of the epic tradition have been recorded in the area, Vladimir Region was one of those territories where epics were originally shaped. Scarce mentions of Rostov and traces of Suzdal in the epic texts are analyzed. An overview of the few records of epics made in the Vladimir Region is provided.
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Bekoev, Vladimir I. "The study of the epics of the Novgorod cycle in the lessons of Russian literature in high school." Vestnik of North-Ossetian State University, no. 3(2021) (September 25, 2021): 60–69. http://dx.doi.org/10.29025/1994-7720-2021-3-60-69.
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In the context of improving school literary education at the present stage, it is of great importance to familiarize students with the spiritual values of world and domestic literature and folklore. In this connection, the study of the epic epos in the school course of literary education is very important. In it, the Russian people poetically correctly portrayed the heroic story of their life, expressed their aspirations, thoughts and hopes, worldly wisdom. Considering the enormous educational and upbringing significance of the epic epos, in the article the author provides methods and techniques tested in the real pedagogical process that contribute to the creative perception of epics, taking into account their genre specificity, the originality of artistic and poetic structures. The ways and methods of work recommended in the article are built taking into account the requirements of modern educational technologies and implemented on the example of studying the epic “Volga and Mikula Selyaninovich”. The author devotes 2 hours to study the epics of the Novgorod cycle. In this regard, the article provides a methodological system of the teacher’s work with a detailed description of the stages of each lesson. The first lesson is devoted to solving the following tasks: to expand the students’ ideas about the epic epic; to determine the thematic difference between Novgorod epics and Kiev ones; to give an overview of the content of the epics about Sadko and Vasily Buslaev. In the process of presenting the material, the teacher widely draws on the texts of the named epics. The second lesson is devoted to the textual study of the epic “Volga and Mikula”. In his introductory remarks, the teacher talks about the time of the formation of the epic, about the problems that worried the people. The lesson ends with work on artistic and poetic means, the originality of epic vocabulary. The relevance of the problem under study is due to the lack of a well-thought-out system for modeling lessons for the study of epics using information technology. The scientific novelty of the work lies in the fact that in it this problem is subjected to methodological comprehension, taking into account the requirements of modern educational technologies.
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Khasanova, Shafoat. "Stories of Alisher Navoi and Rizoi Payvandi (On the Example of “Lison ut-tayr” and “Qush Tili” (The Language of Birds))." International Journal of Early Childhood Special Education 14, no. 1 (March 31, 2022): 1321–25. http://dx.doi.org/10.9756/int-jecse/v14i1.221151.
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In Uzbek literature, the study of epics of the genre “Mantiq ut-tayr” is associated with the study of Alisher Navoi’s epic “Lison ut-tayr” and has always been in the spotlight of experts. Mawlana Khoja Qazi Payvandi Rizoi (XVIII acp) was another writer who wrote in Turkish on the theme “Mantiq ut-tayr”. The only manuscript of the epic “Qush tili”(The Language of Birds) created by him is kept in the fund of the State Museum of Literature named after Alisher Navoi under inventory number 127. Rizoi Payvandi used the works of Jalaliddin Rumi, Fariduddin Attor, Abdurahman Jami in the creation of this epic, as well as carefully studied Alisher Navoi’s epic “Lison ut-tayr”. Because the comparison of Rizoi’s epic with Alisher Navoi’s work shows that in the plot of a number of stories in both epics we see the closeness to each other and in most places the artistic interpretation of the same story, which is characteristic of both creators.
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S, Bharathi. "Silapathikaram quotes in grammatical text." International Research Journal of Tamil 4, no. 1 (December 30, 2021): 117–21. http://dx.doi.org/10.34256/irjt22113.
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Epics has been created in various languages such as Greek, Latin, Persian and Tamil in the world. Even in Tolkappiyam, there is no reference the existence of epics in Tamil. Dandiyalankara is the first script recorded about epics in Tamil. Silappathikaram is the first epic to appear in Tamil literature. This epic and Tolkappiyam were appeared during Sangam literature followed by AD Appeared in the second century. The author of this epic is Ilangovadi. He is the son of Cheramannan Neduncheralathan and the brother of Cheran Senkuttuvan. Silappathikaram is one of the greatest epics that appeared in the Tamil language. It is no exaggeration to say that as the epics were developed next to vintage literature appeared. Grammar rules are composed and written by Vaithiyanatha Desikar in the AD seventeenth century. He has used quotations from various grammatical texts in the context of the text with rich evidence for the text. He has used these quotations to clarify grammatical explanatory threads, for further explanation and for textual concentration. The purpose of this article is to illustrate how grammatical lyricism supports grammatical interpretation.
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T, Nagammal. "Beliefs found in Silappathikaaram." International Research Journal of Tamil 4, S-8 (July 21, 2022): 222–27. http://dx.doi.org/10.34256/irjt22s832.
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The first epic to appear in Tamil was Silapathikaaram, composed by Ilangovadikal. It is an amalgamation of art, music, and drama. This is an epic that excels in language, content, literary style, and appreciation. Silapathikaaram is one of the twin epics that appeared in the second century AD. Faith is an expression of a person's inner feelings. Beliefs are created by people. The Epic explains what is happening in human life. Along with the mixture of fantasy, Silappathikaaram is an epic that embodies the epitome of human life. Beliefs are further developed by individual and community consciousness. Traditional beliefs are passed down from one generation to another over time. One of the hopes for human life can be said to be dreams. Beliefs have existed among people since ancient times. Every human being has different types of beliefs. Silapathikaaram is one of the best epics of femininity in the history of world literature. Beliefs influencing human life are also found in literature. The aim of this article is to examine the beliefs found in the first epic, Silapathikaaram.
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Zaiyrkulova, Rima. "COMPARATIVE STUDY OF THE EPIC "MANAS" AND THE EPIC "MAHABHARATA" IN MEDICAL UNIVERSITIES." Alatoo Academic Studies 22, no. 3 (September 30, 2022): 99–109. http://dx.doi.org/10.17015/aas.2022.223.12.
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The article deals with the problems of comparing the epic "Manas" with the epic "Mahabharata" in medical universities in the discipline "Manas Studies". Compulsory discipline is taught in higher educational institutions. Due to the growing number of young people from the Republic of India studying in medical schools, it is necessary to find ways to compare the epic "Mahabharata" and the epic "Manas" in order to ensure more effective teaching of the discipline "Manas Studies". The comparative study of epics on the world stage plays an effective role in the development of foreign medical students, first as individuals, and then as doctors, by studying the similarities and differences between the epics of the two peoples through the prism of history, literature, traditions, culture and religion.
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Eshonkulov, Jabbor. "Artistic interpretation of the epic creative image." International journal of linguistics, literature and culture 7, no. 3 (April 25, 2021): 146–51. http://dx.doi.org/10.21744/ijllc.v7n3.1498.
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Folklore is a unique art form. It differs from the written literature in its oral, traditional, varied, collective nature. That is, folk epics, which are an example of folklore, have many variants of their own. His text is not stable. These epics, sung by the bakhshis, differ from the epics, which are an example of written literature, in these aspects, that is, in their oral assimilation, oral performance, and oral heritage. These epics change in each performance as they are sung by the performer, the bakhshis. Because bakhshi is based on the law of live performance. Epic art, that is, the epics sung by the bakhshis to understand the essence of the content; it will be necessary to have a fuller understanding of the art of witchcraft. We can learn about the bakhshis from the epics they sang. Epics such as “Alpomish”, “Manas”, “Gorogly”, and the “Book of Dada Korkut” speak of the image of the bakhshi. This article deals with the artistic interpretation of the image of the epic creator in folk epics.
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Feeney, D. C. "Epic Hero and Epic Fable." Comparative Literature 38, no. 2 (1986): 137. http://dx.doi.org/10.2307/1771065.
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Whitton, Christopher. "Latin Literature." Greece and Rome 68, no. 1 (March 5, 2021): 120–28. http://dx.doi.org/10.1017/s0017383520000297.
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These days Flavian epic and intertextuality go together like toast and butter, or a persistent cough and fever, depending on your taste. Either way, Intertextuality in Flavian Epic. Contemporary Approaches is not perhaps the most startling of titles. But the book within is an impressive collection, its four editors (Neil Coffee, Chris Forstall, Lavinia Galli Milić, and Damien Nelis) leading a star cast of Flavians in a wide-ranging and stimulating set of chapters.
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RUIJGH, CORNELIS J. "The source and the structure of Homer's epic poetry." European Review 12, no. 4 (October 2004): 527–42. http://dx.doi.org/10.1017/s1062798704000456.
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Homer's Iliad and Odyssey were created, probably in the second half of the 9th century BC, in the framework of the Greek epic tradition of oral formulaic poetry, which started in the Peloponnese in proto-Mycenaean times (c. 1600 BC). The epic verse, the dactylic hexameter, must have been taken over from the Minoan Cretans. Whereas most 19th century scholars were analysts, considering Homer's epics' conflations of older and more recent epic poems, most modern scholars are unitarians, recognizing the unity of both epics, thanks to modern insights in the nature of oral traditional poetry and to modern narratology. Although many modern scholars ascribe the Odyssey to a later poet than that of the Iliad, there are no convincing arguments against the Ancients' opinion that both epics are the work of one single poet called Homer. Both Iliad and Odyssey are characterized by the principle of ‘unity of action’, a principle not found in other ancient epic poetry. There are reasons to suppose that Homer learnt the art of epic versification in Smyrna, his native city, by listening to performances of Aeolic singers. Driven by Ionic self-consciousness he transposed the epic Aeolic Kunstsprache into Ionic, thus creating the so-called Homeric dialect. He could perform his monumental epics at great religious festivals and at the courts of princes. There is evidence that he gave performances in the island of Euboea, the only prosperous region of the contemporary Greek world, and that there his epics were eventually written down. Thus, Homer's epics are the end-point of the oral epic tradition and the starting point of written Greek and European literature.
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S, Sivagami. "Economic Thought in epic Literature." International Research Journal of Tamil 1, no. 3 (July 30, 2019): 31–38. http://dx.doi.org/10.34256/irjt1935.
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Economy is important to run life as well as government. In other words, betterment of any individual as well a country depends on economy. ‘Avvaiyaar’ a Tamil poetess said ‘when the conditions of the citizens raise automatically the status of the king raises.’ ‘ThirukkuRaL’ in one of its chapters on ‘poruL syal vahai’ (means of economy) talks about the various ways through which the government can build its economy through righteous means. The other epic literatures too have the same opinion. Man acts unethical in two conditions. One is poverty and the other is the desire for more wealth. Poverty is one of the factors of inequalities in economy. There are two status which encouragement to earn. One is poverty and the other is the unfulfilled desire for wealth. To fulfil either one, man tries to earn in unethical ways. Poor, because of their need, try unethical and theft is the foremost.
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Mirzaev, Jonmirza Nematovich. "Psychological Description Of The Avaz Image In Uzbek Epics." American Journal of Social Science and Education Innovations 2, no. 09 (September 14, 2020): 131–36. http://dx.doi.org/10.37547/tajssei/volume02issue09-18.
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Every action and every word in folk epics is aimed at revealing the hero’s psyche. Unlike written literature, the epic strictly adheres to the good traditions of bakhshi. He portrays the hero in accordance with the hopes and aspirations of the people. Therefore, the creator of the epic genre is trying with all his might to comprehensively reveal the psyche, depicting the image of the main character. This article examines in detail the psychological image of the protagonist in the epic text on the example of the analysis of the image of Avaz.
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Zayrkulova, Rima. "PROBLEMS OF COMPARATIVE TEACHING OF THE EPIC "MANAS" AND THE EPIC "MAHABHARATA" IN MEDICAL UNIVERSITIES." Alatoo Academic Studies 23, no. 4 (December 30, 2023): 85–94. http://dx.doi.org/10.17015/aas.2023.234.09.
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The article deals with the problems of comparative study of the epic "Manas" and the epic "Mahabharata" in higher medical educational institutions in the discipline "Manas studies". Regardless of the form of ownership, the discipline "Manas Studies" is taught in higher educational institutions. Due to the increase in the number of young people studying in medical educational institutions from the Republic of India, in order to ensure effective teaching of the discipline "Manas Studies", the comparative study of the epic "Mahabharata" and the epic "Manas" is relevant today. The comparative study of epics on the world stage plays an effective role in the development of foreign medical students, first as individuals, and then as doctors, by studying the similarities and differences between the epics of the two peoples through the prism of history, literature, traditions, culture and religion. Using historical, sociological, comparative and statistical methods of comparative teaching when teaching the discipline "Manas Studies" in higher educational institutions, comparing the epics "Manas" and "Mahabharata", we strive to preserve and transmit national values from generation to generation to students studying in the medical field.
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Kuzmina, Evgeniya N. "Poetics of the Buryat epics at the decline stage of the epic tradition." Sibirskiy filologicheskiy zhurnal, no. 4 (2022): 9–20. http://dx.doi.org/10.17223/18137083/81/1.
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The paper addresses the preservation of the epic tradition and the relationship between the plots and “common places” (loci communes) based on heroic epics (üligers) performed by B. Barnakov in 1961-1962 and recorded on a magnetic tape. At that time, Buryat scholars witnessed a decline of the heroic epic genre. However, owing to the storytelling gift and memory of üligershin B. Barnakov, the tales in his performance feature a variety of plots and stability of typical places. The analysis of poetic and stylistic means has shown the narrator’s knowledge of the epic fund of stereotypes and laws of plot construction of the heroic epic. He used a variety of general epic and situational typical places, characteristic of the Western Buryat epic tradition. Of importance is the interdependence of internal connection between typical places and plots. The decline of the heroic epic genre was manifested in the plot development of some epics, resulting in incomplete endings and confusion in the names of secondary characters. It should be noted that typical places and stable poetic phrases are of great functional importance in the plot construction of the heroic epic and in the preservation of the epic tradition. In Siberian epic studies, there are still topical issues to be explored in depth, such as correlation of plot and motif, plot and stereotypes, including “common places”. Studying these issues will contribute to identifying the factors of sustainability over time of the epic tradition, narrative memory, and the role of the fund of poetic means.
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Kwanghun, Jung, and Kim Hyunju. "From Buddhist Story to Heroic Epic: A Comparative Study of the Epic of Geser and the Mulian Story." Acta Orientalia Academiae Scientiarum Hungaricae 74, no. 3 (September 20, 2021): 413–30. http://dx.doi.org/10.1556/062.2021.00018.
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This paper compares narrative modification in the Mongolian heroic epic The Epic of Geser with that of the Buddhist Mulian story. The Mulian story, in which the protagonist saves his mother from the underworld gained widespread popularity in its time. Mulian Bianwen from the Tang dynasty, presents the scenes from the story in a very dramatic manner. The Mongolian Geser epic uses this motif but adapts the story to fit the characteristics of a heroic epic for nomadic people. Heroic epics must contain motifs that depict the image of their protagonist to present a collection of exemplary characters. To create a complete heroic epic, the story of Geser absorbed a religious story from another culture that was very popular at the time. In the present study, five scenes common to The Epic of Geser and the Mulian story are analysed to investigate how the original Buddhist story became a part of the heroic epic. This analysis considers the ways in which identical story motifs can be used for the different purposes according to the nature of the literary work.
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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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Bekoev, Vladimir I. "Epics about Dobryna Nikitich and Alyosha Popovich in School Study." Vestnik of North-Ossetian State University, no. 4 (December 25, 2021): 89–96. http://dx.doi.org/10.29025/1994-7720-2021-4-89-96.
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The article is devoted to a little-studied methodological problem – the study of epics about Dobryna Nikitich and Alyosha Popovich at the lessons of Russian literature in a secondary school. The urgency of this problem lies in the fact that the considered epic stories about Dobryna Nikitich and Alyosha Popovich are still not sufficiently comprehended taking into account the achievements of modern methodological science, the advanced experience of teachers of Russian literature. As you know, epic epics are usually divided into two main cycles: Kiev and Novgorod. For the Kiev cycle of epics, images of three heroes are characteristic - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich. The named heroes are inseparable in the popular perception. In many epic plots, all three heroes, in difficult battles with the enemies of the Russian land, act together, help each other out. Possessing many similar features, at the same time, each of them is endowed with its own individual and personal qualities, in many respects complement and enrich each other. However, the program on Russian literature for general secondary schools for textual study from the Kiev cycle recommended only epics about Ilya Muromets. As for the epics about Dobryna Nikitich and Alyosha Popovich, they are not provided for by the program for textual study. In this regard, teachers of literature do not consider the study of these epics or limit themselves to a brief retelling of their content. But in the epics about Dobryna Nikitich and Alyosha Popovich, no less vivid and expressive images of heroes are created – the defenders of the Russian land. Acquaintance of schoolchildren with their images, plots and motives will significantly expand the schoolchildren’s ideas about the Kiev cycle of epics, about their differences from Novgorod ones. Based on the foregoing, the author of the article, using the example of studying the epics “Dobryna and the Serpent”, “Alyosha Popovich and Tugarin”, gives the teacher of literature scientifically substantiated, experimentally verified methodological recommendations for their effective study.
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Sekito, Ralph Edward Paulo. "Tracing the Epic Tradition in The Fantaserye: GMA 7’s “Encantadia” As an Epic." Acuity: Journal of English Language Pedagogy, Literature and Culture 5, no. 1 (December 15, 2019): 67–84. http://dx.doi.org/10.35974/acuity.v5i1.2165.
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Popular culture is an emergent study compared to other disciplines. Studies on television as more than a means of entertainment are scarce. As such, this paper is an attempt to fill that dearth by looking into the fantaserye and its relationship with the traditional conventions of the epic. Through the theories on the conventions of the epic and the function of the epic hero propounded by Damiana Eugenio and Isagani Cruz respectively, the researcher looks into the possibility that the fantaserye is inspired from the traditional epic. John Fiske and John Hartley’s notion on television as today’s bard was also utilized in this study. The method used throughout the study is Content analysis.
Results show that the fantaserye and the folk epics have similar attributes such as having the epic hero, their travails and adventures, and their physical and moral transformations that embody the group’s beliefs, ideals, and aspirations, although one difference is that the folk epics are either chanted orally and or performed, while the fantaserye “Encantadia” is aired through the aid of the television. And lastly, some characters were inspired from traditional Filipino folk epics and neighboring countries.
To conclude, the fantaserye gets its materials and inspiration not only from mythological tales, but also from the folk epics, thus making oral literature survive in another form, but at the same time deviates from these inspirations which makes it a postmodern take of the traditional epic. This proves that the popular culture as a field of study that can be associated to other similar fields such as literary studies. Also, the folk epic did not die a natural death in the oral tradition; it adapted through a medium which is relevant and accessible to all: the television.
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Čolaković, Zlatan. "Avdo Međedović’s Post-Traditional Epics and Their Relevance to Homeric Studies." Journal of Hellenic Studies 139 (October 4, 2019): 1–48. http://dx.doi.org/10.1017/s0075426919000016.
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Abstract[Milman Parry established first that Homeric poetry was traditional, based on his studies of its formulae and language, and then that it was oral, based on his experience of recording south Slavic epic; he likened the unusually long epics of Avdo Međedović to those of Homer. Albert Lord put the two concepts together, holding that both south Slavic epic and Homeric poetry were oral-traditional and that all oral epic poetry, including that of Međedović, is traditional. However, the author’s investigations into the Milman Parry Collection of Oral Literature and his personal experience of collecting epics in Montenegro in 1989 prove that this is incorrect. The poems of Avdo Međedović do not conform to traditional uses of language, theme and story-patterns, but offer something new, of which other traditional singers disapproved, as their recorded conversations demonstrate. Similarly, by analogy, the epics of Homer differed from the traditional poems of the Epic Cycle, exactly as Aristotle indicates in the Poetics. Hence neither Međedović nor, by analogy, Homer were fully traditional poets, although they were oral poets; instead, they deliberately adapted the tradition so that the old stories were mixed and matched into much lengthier and more complex epics, which should be called post-traditional.]
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M., Ambili. "The Concept of Liberation in Chitra Banerjee Divakaruni’s The Palace of Illusions." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 107. http://dx.doi.org/10.24113/ijellh.v8i4.10527.
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The great Indian Epic Mahabharata celebrates the battle between Pandavas and Kauravas and signifies Draupadi as the fundamental cause of it. Chitra Banerjee Divakaruni unwrapped this belief and made Draupadi a powerful woman with great determination and courage. The Epics all over the world has portrayed woman as pale shadows of men, and men as great warriors. This silence of women has triggered Divakaruni to retell the epic in female voice. Literature always tried to share the changes in society. Unveiling the perfect lady images to the woman, modern female writers made their own literature. This paper goes through the life of an epic woman who has strong cravings of liberation. Also tries to find out whether a female protagonist can undergo inclinations in the life of Male characters who always hold the seal of divine figure, who always live for the warfare.
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Leporati, Matthew. "‘More than mortal fervour’: Patriotism and Democracy in John Thelwall's Epic The Hope of Albion." Romanticism 26, no. 1 (April 2020): 50–61. http://dx.doi.org/10.3366/rom.2020.0447.
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John Thelwall published extracts from his epic fragment The Hope of Albion (1801) during an unprecedented revival of epic poetry in Britain. The revival saw writers from across the political spectrum promoting various ideas of national identity and examining Britain's developing role as an imperial power. This article positions Thelwall's fragment alongside poems of his contemporaries, including epics by Joseph Cottle and Henry James Pye (both titled Alfred and published in 1800 and 1801). Examining how Thelwall differently revises tropes from classical and Miltonic poems, I argue that he uses the epic genre to explore how the nation could be transformed as an answer to tyranny and oppression. At the same time, formal tensions in the poem suggest the limitations of the very hope that comprises Thelwall's subject.
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Hawley, Nell Shapiro. "Literature in Layers: An Early Theory of Retelling the Sanskrit Epics." Journal of South Asian Intellectual History 3, no. 1 (July 23, 2021): 1–33. http://dx.doi.org/10.1163/25425552-12340021.
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Abstract This essay reconstructs an early chapter in the history of theorizing the diverse Rāmāyaṇa and Mahābhārata literature of South Asia. Drawing upon the tenth-century literary theorist Kuntaka’s discussions of the Udāttarāghava, Uttararāmacarita, Veṇīsaṃhāra, Kirātārjunīya, and Abhijñānaśākuntala—all Sanskrit poetic (kāvya) compositions that depict stories from the Rāmāyaṇa or the Mahābhārata—I show how, in Kuntaka’s understanding, these works repair certain narrative inconsistencies and ethical ambiguities in the epics themselves. Building on the foundation laid by his predecessor, Ānandavardhana, Kuntaka illuminates the various layers of meaning that a work of literature can encompass. He shows that the epics’ different narrative layers send conflicting messages about proper conduct. He suggests, moreover, that an audience experiences a kāvya retelling of an epic story as a layered entity—a layer of epic narrative beneath a layer of kāvya—and argues that an awareness of these layers can contribute to the audience’s ethical self-cultivation. Kuntaka’s theory of retelling (truly re-telling: telling again, purposefully, and differently from a previous accepted telling) represents an important theoretical account of the relationships between South Asia’s many Rāmāyaṇas and many Mahābhāratas.
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Brahmbhatt, Sanjaykumar K. "Biographical Literature in Modern Sanskrit Language." HARIDRA 2, no. 06 (September 25, 2021): 29–32. http://dx.doi.org/10.54903/haridra.v2i06.7733.
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Biographical literature in modem Sanskrit language Biographies of great people have been the source of modem Sanskrit literary creation. Many biographies are available in the form of epic, prose and champu kavyas in Sanskrit literature. There are two master pieces of biographies on the iron man of India, Sardar Vallabhbhai Patel written in modem Sanskrit language. These two master pieces are 'Lohpurusavadanam"by Dr. Shivprasad Bharadwaj and "Vallabhcharitam" by Dr. Satyapal Sharma. The first one is complete biography in the form of historical epic and the second one is a biography in the form of prose work. Key words: biography, creation, literature, modem Sanskrit, master pieces, epic and prose work.
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KOZHEVNIKOV, Nikolay, and Vera DANILOVA. "ОСНОВАНИЯ И КОМПАРАТИВИСТСКИЙ АНАЛИЗ РУССКОГО ЭПОСА." Eposovedenie 2, no. 34 (June 28, 2024): 67–76. http://dx.doi.org/10.25587/2782-4861-2024-2-67-76.
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The investigation of Russian folklore has not yet been fully institutionalized in literature, cinema, and theater. In Russian literature, for example, there are no novels about Koshchei the Immortal, Ivan the Prince, heroes of Slavic pagan culture and many other characters of this genre. Meanwhile, these are deep, colorful images organically integrated into an equally vivid context. Many great writers, such as Thomas Mann, have written about such gaps. The goal is to identify the main typological characteristics of the Russian epic, which, in our opinion, has been studied in this sense very one-sidedly. The methodology is a comparative analysis of various approaches (mythological, historical, structural, etc.) closely interconnected with the characteristic features and structure of epics. At the same time, considerable attention is the harmonious combination of various motifs of the epic: heroes, Kalik-passers-by, epic time, pagan influences, hyperbolization, etc. An attempt is made not to accept, but to take into account various influences on such studies (pre-revolutionary, post-revolutionary, inspired by the Marxist approach, structural analysis, which began to be used in the study of Russian epic since the 1970s). The Russian epic, thanks to a huge number of historical, social, and cultural connections, naturally interacts with the epics of the republics (union and autonomous) that were part of the former USSR, which opens up wide opportunities for comparative studies of various types. Paths are outlined for a comparative analysis of the Russian epic with the epics of the East Slavic peoples, as well as with the Yakut heroic epic Olonkho. The authors' further plans involve continuing the study of Russian folklore in the genre of fairy tales and the field of culture of Slavic paganism. The first of them has been studied quite fully, but the structural and systemic approaches to research need to be further developed. The culture of Slavic paganism is a little-studied area where there are still no established approaches, and there are different points of view on many issues. Here you can apply the methodological approaches outlined in our monograph “Philosophy of Olonkho”.
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Lipka, Michael. "Aretalogical Poetry: A Forgotten Genre of Greek Literature." Philologus 162, no. 2 (October 25, 2018): 208–31. http://dx.doi.org/10.1515/phil-2018-0005.
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AbstractThe article deals with a hitherto largely neglected group of poetic texts that is characterized by the representation of the vicissitudes and deeds of a single hero (or god) through a third-person omniscient authorial voice, henceforth called ‘aretalogical poetry’. I want to demonstrate that in terms of form, contents, intertextual ‘self-awareness’ and long-term influence, aretalogical poetry qualifies as a fully-fledged epic genre comparable to bucolic or didactic poetry. In order not to blur my argument, I will focus on heroic aretalogies, and on Heracleids and Theseids in particular, because of their prominence in the minds of ancient literary critics. In the case of Heraclean aretalogies, it is expedient to distinguish further between aretalogies of ‘epic’ and ‘lyric epic’ (i.e. lyric poets such as Stesichorus, who writes ‘epic’ aretalogies).
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Nezirović, Edin, Albina Plojović, and Elma Redžović. "Characteristics of the heroic epic through the example of the Niebelungenlied and the Gudrunlied." Univerzitetska misao - casopis za nauku, kulturu i umjetnost, Novi Pazar, no. 19 (2020): 86–99. http://dx.doi.org/10.5937/univmis2019086n.
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Names such as Goethe, Hesse and literary writers alike are, to the reading public, synonymous for German literature. It is discouraging to see how German heroic epics have not achieved world wide acclaim and popularization, yet their quality precedes that of many bestsellers. Many experts even consider the Nibelungenlied the German equivalent of Homer's Iliad. In this work we will discuss the most significant characteristics of heroic epic by analysing, what we might consider two of the most popular heroic epics in German literature, the Nibelungenlied and the Gudrunlied. These medieval epics are subjects of much scholarly research around the world. For a better understanding of the topic, we will at the very beginning discuss the concepts of epic and heroic prose, their major characteristics as well as their significance in German literature. As the term hero certainly holds a key position in this literary genre we are obligated to hindsight it, and talk through the heroes of the Nibelungenlied and the Gudrunlied. Furthermore, for a better comprehension of the topic it is inevitable to take a closer look at the historical context of these two epics. At the very end we will review their similarities and differences.
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Berlin, Adele, Marianna E. Vogelzang, and Herman L. J. Vanstiphout. "Mesopotamian Epic Literature, Oral or Aural?" Journal of the American Oriental Society 115, no. 2 (April 1995): 300. http://dx.doi.org/10.2307/604676.
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Ebrahim, Ebrahim Mohammed, and Sirwan Jabar Amin. "Ahmadi Khani's epic "Mam u Zin" based on Epic Characteristics." Twejer 4, no. 1 (May 2021): 193–244. http://dx.doi.org/10.31918/twejer.2141.5.
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Epic is one of the oldest genres in many nations' literature and has occupied an excellent area of world literature. From birth to the middle ages, one of the first genres of literature of many nations It was epic that became the primary genre of the era from Sumerians to Greeks and Romans, and later in the middle centuries. This genre has its specific characteristics and principles that have become the genre's identity for all of the texts under this genre. These characteristics have created the basis for similarities and differences for the literary texts placed under this literary genre. Epic has occupied a special place and states in the literature of the Kurdish nation. Although the Kurdish sample of epic was not like the global model, it still possesses many global epic criteria and assumptions. From this perspective, this research attempts to show how Ahmadi Khani's epic "Mam u Zin" is committed to the characteristics and principles of this genre. In this context, an explanation and analysis have been made for the epic
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DEMİRCİ, Ümit Özgür, Mehmet HAZAR, İbrahim ÖZKAN, and Ali KILIÇ. "Kazakh Epic Janibek Batır." Journal of Old Turkic Studies 6, no. 2 (July 19, 2022): 272–364. http://dx.doi.org/10.35236/jots.1144775.
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There are many opinions about the Kazakhs being one of the Turkish tribes living in Central Asia since the time of the Saka-Scythians and appearing on the stage of history. According to the most common view, Kazakhs emerged when a community that did not comply with Abulhayhan Khan tended to live in a nomadic way between the Chu and Talas rivers. In Kazakh Turkish, the word dastan corresponds to the words jir, epos, köne epos, dastan. For heroic epics, batir jiri, batik epos, heroic epos; love epics are used as gaşıgtik jir, romandik epos, liro epostik jir. As in most epic traditions, Kazakh epics are sung in a mixed form in verse and prose, and traditional instruments such as dombra and kopuz are used in the verse. Telling an epic is called jirla-. While heroic epics are sung in the style of jır, love epics are told in the style of black dead. This epic, which is in the library of Muhtar Avezov Literature and Art Institute, is a copy of Aqıt Qajji Ülimjiwlı. Taken from the fifty-ninth volume of the multi-volume publication Atalar Sözü published by the Kazakh Language Development Institute. As the subject, it tells the heroism of the Kazakh folk hero named Janibek, some of his adventures and his fame among the people, and also reveals the life lived in the Kazakh steppes of that period in a plain language. In this study, the translated text of the work, the transfer of the text to Turkey Turkish and its index are presented to the attention of researchers as well as those who are interested in this field.
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MALANGA, GERARD. "EPIC TIME." Yale Review 93, no. 1 (January 2005): 86. http://dx.doi.org/10.1111/j.0044-0124.2005.00890.x.
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Zhuzupekova, Kunduz. "THE NEED TO STUDY ARTISTIC REFLECTION OF RELIGIOUS CULTURE IN EPOS "MANAS"." Alatoo Academic Studies 19, no. 3 (October 30, 2019): 160–70. http://dx.doi.org/10.17015/aas.2019.193.15.
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The article tells about the relevance of the study of the artistic reflection of religious culture in the epic "Manas", the development of research in accordance with the requirements of the present. In the research system associated with the Manas epic, it is impossible to ignore the religious worldview, religious culture, since, as we all know, religion consists of understanding the worldview of all mankind, the epic arose as a result of human relations to these concepts. Therefore, before addressing this problem, it is necessary to deprive the history of the origin of epics of the literary national language and classical forms of literature and stages of development, which are closely interconnected with the popular faith. The article reveals this problem.
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Karmay, Samten G. "The social organization of Ling and the termphu-nuin the Gesar Epic." Bulletin of the School of Oriental and African Studies 58, no. 2 (June 1995): 303–13. http://dx.doi.org/10.1017/s0041977x00010788.
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In recent studies of the Tibetan epic, much effort has been spent on analysing the origins and types of material that make up the epic literature, but no study presents an overall view of Ling (Gling) society. In the paper I gave at the second Symposium on the Epic of King Gesar at Lhasa in 1991, I therefore discussed the theoretical basis upon which the whole of Tibetan epic literature is built. I demonstrated that the Tibetan epic reveals a basic principle as well as a ‘chronological order’ in its development. Without this theoretical basis, Tibetan epic literature appears as a tangled web of material which is moreover still growing in complexity.
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Tatiana, IVANOVA. "Epic tradition of the Russkoe Ustye." Epic studies 4, no. 32 (December 28, 2023): 5–24. http://dx.doi.org/10.25587/2782-4861-2023-4-5-24.
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Russian epic tradition of the village Russkoe Ustye, standing on the Indigirka River, is the subject of the study. The relevance of the research lies in the need to describe one of the regional epic traditions of Siberia at the modern stage in connection with the work of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences on the series “Bylinas” of the Russian Folklore Code. Accordingly, the purpose and objectives of the study are determined by a systematic approach to material, meaningful in connection with the history of inhabiting the region, the history of the recording epics in the region, and the consistent characteristics of each recorded epic plot. The article reviews the history of inhabiting the Russian Estuary: the discovery of the mouth of the Indigirka by the Cossack Ivan Rebrov in 1638, the construction of the town of Zashiversk in the middle reaches of the Indigirka, inhabiting the mouth of the river from Zashiversk and from the sea. The oral family traditions of the Russkoustians are given. The article also describes the history of the recording epics in Russkoe Ustye and from its inhabitants: political exile I. A. Khudyakov (1867–1869); V. M. Zenzinov (1912); graduate of the ethnographic department of Leningrad State University D. D. Travin (1928); Yakut local historian M. A. Krotov (1931–1932); Yakut writer, member of the ethnographic and linguistic expedition of the Institute of Language, Literature and History of the Yakut branch of the Siberian Branch of the USSR Academy of Sciences N. A. Gabyshev (1946); major Moscow bylinologist Yu. I. Smirnov (1982) and famous ethnomusicologist T. S. Shentalinskaya (1985). The main content of the article is the characteristics of local epics (25 texts). There is an almost complete absence of epics about Ilya Muromets (the only text is “Ilya Muromets and the Idolishche”). The popularity of the plot “Dobrynya and the Serpent” (six variants) is indicated, in which the name of Maria Izyaslavna, absent in European Russia, appears (instead of the traditional Zabava Putjatichna), linking (through the patronymic Izyaslavna) the epics of Russkoe Ustye with the onomasticon of Ancient Russia. The epic “Mikhail Danilovich – the minor hero” (six variants) is analyzed, in which the enemy Titus appears, unknown in the Russian North. It is assumed that this name in Russkoe Ustye was borrowed from the “History of the Jewish War” by Josephus Flavij, a monument of late Antique literature (75–79 A.D.), known in Russia in translation and very popular in the manuscript tradition. Probably one of the lists was brought to Russkoe Ustye. Josephus' Titus is the son of Emperor Vespasian, an enemy of Judea. In the “Arrival of the Lithuanians” (three variants), the names of “our” heroes – Tsar Elizar and his sister Maria Elizarovna (names that are absent in the Russian North) – may also be echoe of the “History of the Jewish War”, where several characters with the name Eleazar are called among the Jews. Other epic plots are also considered – “Surovets”, “Duke Stepanovich”, “Sadko”.
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Makaudze, Godwin. "LITERATURE AS CELEBRATION: THE ZULU (EMPEROR SHAKA) AND MANDINGO (SUNDIATA) EPIC." Imbizo 6, no. 1 (June 21, 2017): 27–38. http://dx.doi.org/10.25159/2078-9785/2781.
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The relationship between literature and society has long been recognised. In light of this, African literature is viewed as partly a celebration and partly an expression of African values. Literature set in the past is to some degree seen as an attempt to unearth, convey and uphold socio-economic, political and religious values of the time. Using the Afrocentricity theory and epic texts, Sundiata: An Epic of Old Mali (Niane, 1965) and Emperor Shaka the Great: A Zulu Epic (Kunene, 1979), the article posits that a study of such epic texts indeed offers a glimpse of the people’s philosophy of life and their values.
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Hepburn, Allan. "Vanishing Worlds: Epic Disappearance in Manhattan Beach." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 384–90. http://dx.doi.org/10.1632/pmla.2019.134.2.384.
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In Jennifer Egan's manhattan beach, certain aspects of american culture—farmland in brooklyn, the ziegfeld follies, Jean Harlow's curls, the “old salts” who sailed in wooden ships (259)—are recalled at the moment of their vanishing. These and other disappearances provide evidence that, in the novel, historical change is treated as an epic trope. At the same time, disappearances mark swerves in an individual character's destiny as novelistic events. In its blending of history with individuals' stories, Manhattan Beach can be called an epic novel, along the lines of Herman Melville's Moby-Dick and Don DeLillo's Libra. Whereas novels particularize individual experience in an evolving present, epics position individual destinies in a fixed, complete history. Novels differ from epics in the distance that they take from their respective subjects, though the two genres demonstrate “all-inclusiveness” and “expansiveness” (Merchant 71, 93). The epic novel mobilizes at the point where national ambitions overlay personal stories. hrough the trope of disappearance, Manhattan Beach correlates the epic ambition to show historical transformation with the novelistic ambition to represent personal renewal. Disappearances may be escapes, but they also forecast characters' fresh starts and future convergences.
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Malamud, Martha. "Vandalising Epic." Ramus 22, no. 2 (1993): 155–73. http://dx.doi.org/10.1017/s0048671x00002496.
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William Levitan concluded a study of the fourth century poet Optatian with the sentence, ‘The marble bones of Rome itself were chopped for a thousand years to raise the buildings of Europe.’ The theatres, baths and other edifices constructed by the Romans never wholly perished; they served the local populations for centuries as quarries for building materials. The writers of late antiquity treated the Latin literary tradition the same way that later inhabitants treated the ruins of Roman buildings, as a source for appropriate building blocks. The dismemberment of magnificent structures, whether architectural or literary is, to be sure, a kind of vandalism, but perhaps in the post-modern, resource-hungry world of the mid-1990's we can bring ourselves to think of it as something more positive, as an attempt to salvage and recycle valuable material.
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Gazerani, Saghi. "Old Garment from a New Tailor: The Reception and Reshaping of Epic Material in Early Medieval Iran." Journal of Persianate Studies 6, no. 1-2 (2013): 178–96. http://dx.doi.org/10.1163/18747167-12341246.
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Abstract The corpus of epic material produced in the New Persian language, best known by Ferdowsi’s Shāhnāma, is preoccupied with narrating Iran’s past. In this article, the production milieu of the epic material during post-Conquest Iran is explored. This is undertaken by tracing the sources of the Sistani Cycle of Epics, a body of literature, which recounts the stories of Rostam, his ancestors and his progeny. The discussion of the sources of this body of epics reveals what seems to be an abundant interest in narrating multiple, diverse and contradictory events of Iran’s pre-Islamic past. The existence of a plethora of varying narrations raises several questions such as the impetus for transmission of these varying narratives, and the nature of Iranian historiography.
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Andreeva, Valeria G. "The phenomenon of the Russian epic novel." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2020): 110–17. http://dx.doi.org/10.20339/phs.6-20.110.
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The article is devoted to the phenomenon of an epic novel, a unique genre phenomenon that arose in Russian literature of the 19th century. While the West European novel lost its national breadth and depth, the Russian novel was able to maintain an epic dominance, revived many of the signs and characteristics of ancient epics based on the material of modern life. The basis for the revival of an epic novel based on Russian soil was: the nature of Russian realism, a special understanding by Russian writers of man and his role, as well as religious consciousness and collegiality. The author of the article discusses the meanings of the definition of “epic”, the concept of “epic”, shows the need for their rapprochement based on the disclosure of the features of the epic novel. The article analyzes the views of literary scholars of the 20th century, which came close to the need to highlight such a dominant form of the Russian novel of the second half of the 19th century, but due to ideological and political trends did not determine the most important foundations of the epic novel. The work outlines the need to study the totality of the artistic world of the epic novel, the special objectivity of Russian writers, which allowed them to come to global and universal problems. The phenomenon of the epic novel is largely due to the precedent picture of the world, the conscious choice of a character between personal, selfish and popular principles in favor of the latter.
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Miletich, John S. "Muslim Oral Epic and Medieval Epic." Modern Language Review 83, no. 4 (October 1988): 911. http://dx.doi.org/10.2307/3730905.
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Pattison, Neil. "Scrap epic." Critical Quarterly 60, no. 2 (July 2018): 103–26. http://dx.doi.org/10.1111/criq.12417.
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Goetz, Jake. "The Blue Hills Archipelago: Longform poetics & the ecological anti-epic." Axon: Creative Explorations 13, no. 2 (February 21, 2024): 92–110. http://dx.doi.org/10.54375/001/gungzusra7.
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This essay puts forth Laurie Duggan’s decades-long serial poem, Blue Hills (1980–), as a radical antimythic and ecological approach to longform ‘epic’ poetics – or what I term the ‘ecological anti-epic’. The essay first reflects on the mythic ambitions of twentieth century Anglo-American modernist epic poets, such as Ezra Pound and TS Eliot, before turning to what I call the North American ‘antiepic’ postmodernist serial poem tradition. Centring on Robert Duncan’s Passages – a key influence on Duggan’s own series – I argue this ‘anti-epic’ approach to the long poem replaced the ‘mythical method’ (Eliot 1923: 483) of early modernist epics with a compositional method. Reading Blue Hills through the guiding principle of Duncan’s series, ‘grand collage’ (2014: 298), the essay then posits that Blue Hills – as a localised re-deployment of Duncan’s grand collage method – can be read as both a continuation, and subversive settler Australian reimagination, of the North American anti-epic serial poem tradition. Drawing on Peter Minter’s archipelagic approach to reading Australian poetry, Blue Hills is then read as a type of archipelago of poetic islands, one which challenges not only the epiccum-mythic ambitions of modernist longform poetry, but also the racially charged environmental myth-conceptions of early settler Australian poetic movements, such as the Jindyworobaks. I conclude with a brief reflection on the links between the process-based aesthetics of post-modern anti-epics and what Connor Weightman calls the ‘ecological long poem’ (2020: 3), ultimately positing that Duggan’s Blue Hills refutes the modernist penchant for speaking declaratively about the world and instead affects a sense that the world is reveling in its own wording.
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Yegana Huseynova, Sabir. "THE POSITION ROLE OF THE EPIC POEM IN AZERBAIJANI LITERATURE." Scientific Journal of Polonia University 62, no. 1 (July 8, 2024): 40–46. http://dx.doi.org/10.23856/6205.
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The replacement of the cult of nature as a result of historical conditions and development actually brought up interest and attention to real events in the epic mind, achieving the expression of the happening events and human relations along the dynamic plot line as a necessary creative task prompted the writers to think in this direction. The periods of formation, development and creativity of the epic poem as a whole are systematically involved in the study, while the existing ideas and conclusions formed around the epic poem are summarized and considered from a principled point of view, conclusions are reached that do not lose their significance even today.
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Hongal, Prof Pushpa, and Mr Yashpal Kshirsagar. "Management Lessons from Indian Ethos: Evidence from Ramayana." International Journal of Management and Humanities 9, no. 9 (May 30, 2023): 1–6. http://dx.doi.org/10.35940/ijmh.i1603.059923.
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Ancient Indian Ethos are the basis for modern management practices, as they derive serval lessons from them. The applicability of these lessons are helping to solve todays corporate problems throughout the world. One of theMost revered Epic Ramayana, is considered as marvelous epic, first written literature in the Indian Context. Over the centuries, several authors have explored various dimensions of Ramayana ranging from philosophy, spirituality, politics, economics, sociology, culture, literature, language, poetry, technology, and others. However, we find few research work related to understand the relevance of Ramayana and Management. Hence authors have felt the need for understanding the applicability of great principles and lessons in developing management practices to lead effectively. In this conceptual research paper authors have made an effort to bring management insights from Ramayana. This research paper is developed based on qualitative analysis of earlier research papers, Indian epics and Indian ethos. The review of epic provides valuable insights in developing this article. Based on reviews authors have explored leadership style, motivation, ethical values, people management, team building, planning, strategies, decision making, moral values, governance, tactics, principle of control etc, from Ramayana, which provide important lessons for enhancing managerial effectiveness. The foundation for management and leadership is derived from our Indian ethos, spiritual values and culture. This research paper signifies the practical applicability of great epic “Ramayana” in understanding and developing management practices for the effectiveness.
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Miasnikov, Viktor. "The Street Epic." Russian Studies in Literature 38, no. 3 (July 2002): 10–24. http://dx.doi.org/10.2753/rsl1061-1975380310.
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Wilde, Lisa A. "SHAW'S EPIC THEATER." Shaw 26 (January 1, 2006): 135–42. http://dx.doi.org/10.2307/40681736.
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Wilde, Lisa A. "SHAW'S EPIC THEATER." Shaw 26 (January 1, 2006): 135–42. http://dx.doi.org/10.5325/shaw.26.2006.0135.
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Quint, David. "Epic and Empire." Comparative Literature 41, no. 1 (1989): 1. http://dx.doi.org/10.2307/1770677.
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Steadman, John. "Principles of Epic." Ben Jonson Journal 3, no. 1 (January 1996): 127–44. http://dx.doi.org/10.3366/bjj.1996.3.1.9.
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