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Journal articles on the topic 'European Folk literature'
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1
Jason, Heda. "Indexing of Folk and Oral Literature in the Islamdominated Cultural Area." Bulletin of the School of Oriental and African Studies 59, no. 1 (February 1996): 102–16. http://dx.doi.org/10.1017/s0041977x00028573.
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Galland's translation of the Arabian Nights in the eighteenth century brought to the wider European readership an awareness of the wealth of written folk literature of medieval provenance in the Near and Middle East. During the Romantic movement, popular translations or rewritings from Arabic, Turkish and Persian medieval folk literatures proliferated (see Appendix 1 below, Chauvin, no. 6; Marzolph, no. 10).
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Westermark, Katarzyna. "Wacław Aleksander Maciejowski as a Comparatist: His Supplements to Frédéric Gustav Eichhoff’s The Literature of Medieval Peoples: Slavs and Germans." Tekstualia 1, no. 68 (June 30, 2022): 59–76. http://dx.doi.org/10.5604/01.3001.0015.9074.
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The dissertation Obraz literatury średniowiekowych ludów, a mianowicie Słowian i Niemców [The Literature of Medieval Peoples: Slavs and Germans] was published in Warsaw in 1856. It was a translation of a study by the French philologist and comparatist Frédéric Gustave Eichhoff. The original text was signifi cantly modifi ed and supplemented by Wacław Aleksander Maciejowski, a Polish historian of law and specialist on Slavic culture. The article identifi es the parts of the text that Maciejowski added, as this allows for a reconstruction of his general views on Slavic poetry, including the differences between folk ballad traditions of the Slavic nations, as well as between Slavic and Western European folk ballads (primarily Germany). Maciejowski’s views on the development of the literatures of various European nations by the mid-nineteenth century have also been discussed.
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Feldman, Sara Miriam. "Jewish Simulations of Pushkin's Stylization of Folk Poetry." Slavic and East European Journal 59, no. 2 (2015): 229–45. http://dx.doi.org/10.30851/59.2.004.
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This article examines the prosody and other features of Hebrew and Yiddish translations of Eugene Onegin , which were composed as a part of Ashkenazi Jewish cultural movements in Eastern Europe, Russia, and Palestine. Russian literature played an important role within the history of modern literature in both Hebrew and Yiddish. Translating Russian literature tested the limits of the literary Yiddish and Hebrew languages. Due to the novel’s status in the Russian canon and its poetic forms, translating it was a coveted literary challenge for high-culture artistic production in Jewish languages. I examine this phenomenon using Pushkin’s simulation of folk poetry in the “Song of the Girls.” Due to the different social and textual functions of Yiddish and Hebrew, as well as their linguistic features, translatability of even formal characteristics differed from one Jewish language to another. The changes in Hebrew pronunciation during this period were reflected clearly in the changing limits of the ability of writers to translate Onegin . Though motivated by an inward-facing drive to produce modern and Western literature in one Jewish language or another, these translations were also a manifestation of the cultural bond between secular, East European Jewish intellectuals and Russian literature.
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Meyer, Ole. "The First Oral Folk Tale Ever?" Fabula 61, no. 3-4 (November 25, 2020): 316–34. http://dx.doi.org/10.1515/fabula-2020-0017.
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AbstractMs. Uppsala E.8 contains an incomplete version of the wonder tale ATU 510B, Donkey-Skin, taken down from oral performance in 1612. Though briefly mentioned in reference works it is largely ignored and has not been translated before. Other than being the first known version of the tale and of the motif Three Magical Dresses known from the Cinderella cycle it is probably the first record anywhere of a folktale taken down from an oral source, as demonstrated by its form. It also appears to be the only folktale manifestation of the motif Three Animal Opponents, known prominently from Dante’s Commedia. Complete versions of the tale come from Scandinavian nineteenth-century folk tradition in Sweden, Denmark and Norway. Some of these have the incest motif (The Unnatural Father) common to ATU 510 B, while others, including the 1612 fragment, do not: these tell of a farmer or similar who wants to give his daughter to a man she does not want, not of a widowed king pretending a marriage with his own child. In both cases the heroine escapes from home, assisted by a magical Animal Helper. An early fourteenth-century version as a non-magical novella is found in the Florentine collection Il Pecorone; there is also a loose connection to Straparola’s novella Tebaldo – the latter with, the former without the incest motif. Furthermore, the existence of the tale is one of several obstacles to Ruth B. Bottigheimer’s controversial theory that wonder tales were a sixteenth-century urban creation in print rather than a European oral tradition.
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Terekhova, Irina. "CRЕATIVE INTERPRETATION OF THE FОLKLОRE PHYTONYM "PERECOTYPOLE" IN THE UKRАINIAN LІTERATURE OF THE XIX CЕNTURY." LITERARY PROCESS: methodology, names, trends, no. 17 (2021): 65–71. http://dx.doi.org/10.28925/2412-2475.2021.17.8.
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Thе relevance of this scientific statistic will begin before we start, as the Ukrainian literature of the 19th century will require more detailed reassessment. We are very important in the development of folklore warehouse, some of the folklore itself has become an unacceptable dzherel for the establishment of the actualization of artistic themes and images that were given to the dobies. Folklorе images were found in the folk culture and integrated in the creative palette of Ukrainian writing. After the hour of writing robots, a hermeneutic, descriptive, systemic and systematic method of reading has been obtained. This аrticle is devoted to the problem of creative interpretation of the folk phytonym "perekotypole" on the basis of works of Ukrainian literature of the XIX century, in particular the article considers the ballad "Pokotypole" by A. Metlinsky, the Russian-language story nun "and the poem" We are so similar in autumn "by T. Shevchenko, L. Glibov's fable" Perekotypole ". Allusions to European romantic literature have also been identified in the study of the creative interpretation of the folklore image of the perekotypol. In the cоurse of research it is proved that the folk tale about perekotypole is consonant with F. Schiller's ballad "Ivik's cranes". Both works show that both the steppe plant and the cranes in the sky can be silent witnesses to the ruthless violent death of a person, and in the end they help solve the murder and help punish the thief. Among all the works analyzed in the article, it is worth noting the Russian-language story "Perekatypole" by G. Kvitka-Osnovyanenko, which at one time was not republished at all and was removed from the list of the author's academic publication. Thе study highlights the levels of transformation of the folk image of the perekotypol in various literary genres of Ukrainian literature of the XIX century: direct, secondary, indirect. The emotional and semantic load of the folk phytonym "perekotypole" in the artistic texts of the mentioned period is also determined. This image in the structure of the lіterary text serves as a silent witness to the murder (folk tales about Perekotypole, the bаllad "Pokotypole" by A. Metlinsky, "Perekotypole" by G. Kvitka-Osnovyanenko), symbolizes the state of loneliness, orphan destiny (poetry of T. Shevchenko), еmbodies the image of barrenness and alienation (L. Glшbov's fable "Perekotipole"). The study is promising in terms of further study of Ukrainian literature of the nineteenth century, its links with folklore, as well as with the European literature of Romanticism.
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Dembeck, Till. "Heute sprechen. Literatur, Politik und andere Sprachen im Lied (Herder, Alunāns, Barons)." Interlitteraria 26, no. 1 (August 31, 2021): 31–48. http://dx.doi.org/10.12697/il.2021.26.1.4.
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Speaking Today. Literature, Politics and Other Languages in Songs (Herder, Alunāns, Barons). This article claims that the politico-cultural relevance of literary texts in their respective present consists, among other aspects, of their handling of linguistic diversity. As examples, it presents three 18th and 19th century publications from the German and/or Latvian speaking territories which put (folk) songs into the centre of their rather different politicocultural endeavours. Herder’s collection of folk songs from 1778/79 is read as an attempt at a poetic new beginning that makes use of linguistic diversity qua translation in order to inspire originality in the ‘mother tongue’. The folk songs here serve to synchronise and dynamise linguistic means in the name of a new literature. The Dseesmiņas (‘little songs’), a collection of translations of European poetry into Latvian published by Alunāns in 1856, combines precisely this claim to renewal with an attempt at an anti-colonial synchronisation and modernisation of the Latvian language. Eventually, the six-volume collection of Latwju Dainas (Latvian folk songs), published by Barons around 1900, takes up Herder’s efforts to preserve folk songs. Barons synchronises a dialectally, materially and historically diverse corpus of songs in the name of anti-colonial emancipation. In terms of cultural policy, his project aims to give presence to pre-modern folk life under the conditions of modernity.
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Pace, Ian. "The Panorama of Michael Finnissy (II)." Tempo, no. 201 (July 1997): 7–16. http://dx.doi.org/10.1017/s0040298200005775.
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A large body of Michael Finnissy's work refers to music, texts and other aspects of culture outside the mainstream European tradition. As a child he met Polish and Hungarian friends of the family, and was further attracted to aspects of Eastern European music when asked to transcribe Yugoslav music from a record, for a ballet teacher. Study of anthropological and other literature led him to a conviction that folk music lay at the roots of most other music, and related quite directly to the defining nature of man's interaction with his environment. Finnissy went on to explore the widest range of folk music and culture, from Sardinia, Yugoslavia, Rumania, Bulgaria, the Kurdish people, Azerbaijan, the Vendan Africans, China, Japan, Java, Australia both Aboriginal and colonial, Native America and more recently Norway, Sweden, Denmark, India, Korea, Canada, Mexico and Chile.
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Đorđevic, Nenad, and Slavoljub Uzunović. "Niševljanka as a small town originated urban folk dance." Fizicko vaspitanje i sport kroz vekove 9, no. 1 (2022): 117–34. http://dx.doi.org/10.5937/spes2201120d.
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The subject of this paper are city (small town) folk dances in a broader sense and Niševljanka folk dance as a town game in a narrower sense. The aim of the paper was to describe Niševljanka as a town folk dance. The basic task is to write down the music, rhythm and technique of the dance. In the available literature dealing with the systematization and division of folk dances, city folk dances are nowhere to be found as a special type of dance. Maybe rightly so, since they can be traced back to the traditional, original dances. However, given the conditions and time of the origin of these dances, with the migration of the peasantry to the towns and cities, the city dances in some way distanced themselves from the traditional ones. This was influenced by new living conditions, more cramped space, mixtures of the European and Oriental culture, as well as the Europeanization of culture and way of life in general. It can be stated that city folk dances are in fact traditional - original dances that have taken on other aspects of dancing and dancing behavior. If any folk dance has marked our city, and the state in general, from the end of the 19th and the beginning of the 20th century, it is undoubtedly Niševljanka folk dance. Numerous manuscripts, books, travelogues, newspaper articles from that time testify to this fact. This paper is an attempt to point this out and to find in one place the musical, rhythmic and playful record of this, undoubtedly original city folk dance.
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Quintero, Genevieve Jorolan, and Connie Makgabo. "Animals as representations of female domestic roles in selected fables from the Philippines and South Africa." Scholarship of Teaching and Learning in the South 4, no. 1 (April 28, 2020): 37. http://dx.doi.org/10.36615/sotls.v4i1.121.
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South Africa and the Philippines are home to a number of indigenous groups whose cultures and traditions have not been tainted by centuries of colonization. This paper compares the pre-colonial literature of cultural communities in two countries, where one is part of a continent (South Africa) while the other is an archipelago (the Philippines). Despite the differences in their geographical features, the two countries share common experiences: 1) colonized by European powers; 2) have a significant number of indigenous communities; 3) a treasury of surviving folk literature. Published African and Philippine folktales reveal recurring images and elements. One of these is the use of animals as characters, performing domestic tasks in households, and representing gender roles. This paper compares how animal characters portray feminine characteristics and domestic roles in selected fables from South Africa and the Philippines, specifically on the commonalities in the roles of the female characters. The research highlights the relevance of recording and publishing of folk literature, and the subsequent integration and teaching thereof within basic and higher education curricula.Key words: Indigenous, Cultural communities, fables, folk literature, Philippine folk tales, South African folk talesHow to cite this article:Quintero, G.J. & Makgabo, C. 2020. Animals as Representations of Female Domestic Roles in selected fables from the Philippines and South Africa. Scholarship of Teaching and Learning in the South. v. 4, n. 1, p. 37-50. April 2020. Available at:https://sotl-south-journal.net/?journal=sotls&page=article&op=view&path%5B%5D=121This work is licensed under the Creative Commons Attribution 4.0 International License.To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/
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Соколов, Олег. "The Memory of the Crusades in the Arabic Folk Epics: Images and Patterns." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 6 (2022): 172. http://dx.doi.org/10.31857/s086919080021277-1.
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Considering the importance of the topos of the Crusades for the Arab discourses of the 19th - 21st centuries and its influence on the collective memory in modern Arab countries, the challenge of finding the roots of this phenomenon is of vital importance. This problem can be solved only through the analyses of the memory of the Crusades in Arab culture from the late 13th to the beginning of the 19th centuries. Proceeding from this, it seems relevant to study the preservation of the memory of the Crusades in one of the most important types of works of Arabic literature, Arabic Folk Epics. The analysis of the image of the Franks in this kind of sources shows that during the era of the Crusades itself and in the subsequent centuries a huge number of the Arab tribal pre-Islamic narratives and passages about the struggle against Byzantium were transformed into the ones dedicated to Jihad against the Franks. Thus, first the Crusades reshaped this kind of narratives, and then the Arab tradition itself began to support and reproduce the image of the Christian-European-Crusader in the collective memory in Egypt and Levant due to the high popularity of the Folk Epics, which might have created a horizon of expectation for the perception of the European colonial policy of the 19th-20th centuries, i.e. “the return of the Crusaders”.
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Votruba, Martin. "Hang Him High: The Elevation of Jánošík to an Ethnic Icon." Slavic Review 65, no. 1 (2006): 24–44. http://dx.doi.org/10.2307/4148521.
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In this paper, Martin Votruba traces the evolution of the Jánošík myth. The highwayman Jánošík is a living legend in Czech, Polish, and Slovak cultures. Contrary to common claims, the modern celebratory myth of the brigand hanged in the eighteenth century is at odds with the traditional images of brigandage in the western Carpathians. Folk songs and The Hungarian Simplicissimus of the seventeenth century often anathematize highway robbery. High literature of the mostly Slovak counties of the Kingdom of Hungary in the Habsburg empire similarly cast Jánošík as a criminal. Yet some intellectuals, such as Pavol Jozef Šafárik, inspired by the robber in German literature, singled out Jánošík from among other brigands and reduced that folklore-based opprobrium. Others, such as Ján Kollár, resisted Jánošík's rehabilitation. Subsequent Central European national revivals and ethnic activism prompted the Slovak romantic poets to reinvent Jánošík as a folk rebel against social and ethnic oppression.
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Starzyk, Agnieszka. "The Kurpie region. Transformation of settlement landscape until Poland’s accession to the European Union." MAZOWSZE Studia Regionalne Special Edition, Special Edition (2021): 31–48. http://dx.doi.org/10.21858/msr.se.2021.02.
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The Kurpie region is among the most interesting ethnographic regions of Poland, with the center of the original, well-preserved and carefully cultivated folk culture of the Kurpie [ethnographic group of the Polish population]. The image of the Kurpie village resulted from centuries of human activity. Over the centuries, transformations of the landscape occurred. Activities that gave the area a modern appearance were based on adaptation of the natural environment for cultivation of land and gradual establishment of human settlements. The traditional folk culture developed by the Kurpie ethnographic group, as well as high value of the natural environment prompted research in the scope of transformation to open settlement landscape of the Kurpie region. The present study was aimed at investigating processes that determined the transformation to the natural and cultural landscape of the Kurpie region. The territorial scope of the present work covers the Kurpie region located between the Omulew and the Szkwa rivers. In the 15th century, the region was included in the Ostrołęka County and has remained there since then. The time scope of the study concerns the period from when first mention of the area being settled was made to the moment of Poland's accession to the European Union. The following research methods were adopted for the study: analysis of source literature and literature on the subject undertaken in the present work, historical analysis to cover the development of settlement in the studied area, comparative cartographic analysis in the field of settlement and landscape transformation, statistical analysis in the field of social and technical infrastructure. In the study, landscape and urban-rural inventory was also applied. The study structure covers issues related to formation and development of settlement in the Kurpie region: 1) the Kurpie region in scientific research, 2) the Kurpie region in folk culture, 3) the Kurpie region – an outline of settlement-agricultural functions, as well as landscape layout, 4) the Kurpie region – characteristics of the settlement landscape, 5) the Kurpie region – dominant changes to the landscape under the influence of socio-economic factors in the period of the 45 post-war years, 6) the Kurpie region – dominant modification to the landscape as influenced by socio-economic factors during the political system transformation in Poland.
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Florek, Joanna. "Słów kilka o baśni tureckiej na podstawie tekstów Ağlayan Nar ile Gülen Ayva oraz Yeşil Kuş." Studia Azjatystyczne, no. 4 (May 29, 2019): 6–14. http://dx.doi.org/10.14746/sa.2018.4.1.
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The article presents a state of Turkish research and the most common classification systemising tales as a literary genre in Turkish literary studies. The article discusses the most popular theories about the origin of tales. By showing two examples of tales, it provides answers to the following questions: Are Turkish tales different from the European ones? Does religion have impact on folk literature? What are the most popular types of Turkish tales? And how can we describe the main characters in Turkish tales?
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Liugaitė-Černiauskienė, Modesta. "Folk Ballad beyond the Genre Definition." Tautosakos darbai 63 (July 20, 2022): 123–37. http://dx.doi.org/10.51554/td.22.63.06.
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The ballad has long existed in the periphery of the Lithuanian folkloristics. In this article, the folk ballad’s role and place in the Lithuanian folksong tradition is explored discussing two classical works of the Lithuanian folklore research characterized by their rather diverse theoretical assumptions. Both works were published in the end of the 1960s. The first one is the study on the Lithuanian folk ballads by Pranė Jokimaitienė (1968), and the second one is the monograph by Donatas Sauka discussing the uniqueness and value of folklore (1970). The author of the article suggests examining the folk ballad not only in terms of the genre, but also from the broader interdisciplinary perspective, thus combining both above-mentioned points of view by Jokimaitienė and Sauka. Such approach is strengthened by the research history of the ballad – a very complex and complicated phenomenon.
Limiting the ballad analysis exclusively by the Lithuanian material on the one hand, and by the pure folklore on the other, hinders us from adequately placing the ballad in the Lithuanian folklore system. Therefore, the author suggests renouncing the narrow concept of the ballad as a text, at the same time regarding it beyond the definition of the genre and taking into account its social, cultural, historical and anthropological contexts. The article aims at discussing the peculiarities of the ballads’ existence in the Lithuanian environment in terms of development of the Lithuanian folkloristics. Notably, ballads have always found themselves at the outskirts of the idealizing template of the research in Lithuanian folksong.
Various nations have seen very diverse adaptations of the ballad plots, and this international diversity of folk ballads along with their dissemination across other genres opposes making clear decisions regarding their identity, even when the general definition is applied. Giving in to the temptation of submitting the generic definition, the folklorist adopts the views of a literary scholar: the definition might look essentially correct (the ballad is “a lyric-epic composition characterized by dramatic features” or “a narrative folksong with lyrical and dramatic character”, etc.), but will hardly be of use. Compositions with similar plots might be attributed to different genres in various national folklores, which works according to their own folklore systems. Besides, even variants of the same type might embrace a rather broad scope: from the stylistically pure ballads to the lyric transformations with ballad motives. This complicates the wish to combine all compositions and types into a single generic group. Here, one must bear in mind the already established tradition of folklore research. In Lithuania, development of folkloristics has shaped a general image of the folklore universe, which has in turn dictated how the whole folksong corpus is ordered and systematized.
Finally, the author draws the readers’ attention to the fact that ballads – the folksong layer of foreign origins and abounding in signs of “otherness” – have become unique compositions in Lithuania, not similar either to European samples nor to the authentic canonic Lithuanian folksongs. Having appropriated a topic or some wandering story line, Lithuanians frequently do their own transformations in terms of content and form. It is concluded that the Lithuanian ballads have sprung from interactions between the local folksong tradition and the balladic expression, thus acquiring an additional meaning and value.
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Ismailova, Zarema Ramazanovna. "MEMOIR GENRES IN THE DAGESTAN LITERATURE OF THE LATE XIX– EARLY XX CENTURY (Based on the memoirs of M. Kushiev)." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 28 (November 24, 2021): 58–67. http://dx.doi.org/10.31029/vestiyali28/12.
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The article deals with the notes of the Dagestan goldsmith-gunsmith M. G. Kushiev (1877–1942), in which he told about its unique and rich experiences of life. Memoirs of Magomed Kushiev is also a story about the life of thousands of Dagestan retirees – masters of various professions and crafts, who regularly left their villages to work. Notes of M. Kushiev have obvious folk roots, as in the story, and the form. In addition, there is a similarity with the European adventure novel. But the main value of the memoirs of Kushiev that we can see the world of the late XIX – early XX centuries through the eyes of the Dagestan man of this period.
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M, Christopher. "Life Problems of Tamils of Highlands in the Fictions of Maatthalai Somu." International Research Journal of Tamil 4, S-9 (July 27, 2022): 27–41. http://dx.doi.org/10.34256/irjt22s95.
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Immigrant Tamil literature has an important place in Highland literature. Highland Tamil literature can be considered a part of immigrant literature. It is a rich literary field with many literary genres like folk literature, poetry, short stories, novels, dramas, and essays. Highland writers have contributed to and enriched the field of literature. Their field of literature is expanding beyond the Sri Lankan highlands to include Tamil Nadu, European countries, and other countries in the world. In this way, Maatthalai Somu is an international Tamil writer who records Sri Lanka (Highland), India (Tamil Nadu), Australia and the lives of Tamils living in them. Highland literature is two hundred years old. European countries that conquered large parts of the world to accumulate capital, exploited the resources of their colonies and the labour of indigenous peoples. In this way, the British, who took control of Sri Lanka in 1815, ended the Kandy monarchy. In 1820, coffee plantations were started. After that, they also cultivated cash crops like sugarcane, tea, and rubber. The South Indian Tamils migrated and settled in the highlands for the manpower to work on these large plantations. These Tamils are called Highland Tamils. Famine and oppression in India in the nineteenth century also caused Tamils to immigrate to Sri Lanka. The hard labour of Tamils was used in creating and cultivating these plantations. The history and life problems of such highland Tamils have been recorded by the highland Tamil writer Maatthalai Somu in his fiction.
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Kampāne-Štelmahere, Sintija. "Latvju dainu atbalsis Veltas Sniķeres lirikā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 124–34. http://dx.doi.org/10.37384/aplkp.2020.25.124.
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The research “Echoes of Latvian Dainas in the Lyrics of Velta Sniķere” examines motifs and fragments of Latvian folk songs in the poetry by Sniķere. Several poems that directly reveal the montage of folk songs are selected as research objects. Linguistic, semantic, hermeneutical and historical as well as literary methods were used in poetry analysis. The research emphasizes the importance of Latvian folklore in the process of Latvian exile literature, the genesis of modern lyrics, and the philosophical conception of the poet. Latvian folk songs in the lyrics of Sniķere are mainly perceived as a source of ancient knowledge and as a path to the Indo-European first language, prehistoric time, which is understood only in a poetic state. Often, the montage of Latvian folk songs or their fragments in the lyrics of Sniķere is revealed as a reflexive reverence that creates a semantic fracture and opposition between profane and sacred view. The insertion of a song in the poem alters the rhythmic and phonetic sound: a free and sometimes dissonant article is replaced by a harmonic trochee, while an internationalism saturated language is replaced by a simple, phonetically effective language composed of alliterations and assonances. The montage of folk songs in a poem is justified by the necessity to restore the Latvian identity in exile, to restore the memory of ancient, mythical knowledge, to represent the understanding of beauty and other moral-ethical values and to show the thought activity. Common mythical images in the lyrics of Sniķere are snake, wind, gold, silver, stone etc. The Latvian folk song symbolism and lifestyle of the poet are organically synthesized with the insights of Indian philosophy.
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Harrison, Henrietta. "Rethinking Missionaries and Medicine in China: The Miracles of Assunta Pallotta, 1905–2005." Journal of Asian Studies 71, no. 1 (December 30, 2011): 127–48. http://dx.doi.org/10.1017/s0021911811002920.
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This paper uses the cult of Assunta Pallotta, an Italian Catholic nun who died in a north China village in 1905, to critique the existing literature on missionary medicine in China. She was recognized as holy because of the fragrance that accompanied her death, and later the incorrupt state of her body, and her relics were promoted as a source of healing by the Catholic mission hospital, absorbed into local folk medicine, and are still in use today. By focusing on Catholics, not Protestants, and women, not men, the paper suggests similarities between European and Chinese traditional religious and medical cultures and argues that instead of seeing a transfer of European biomedicine to China, we need to think of a single globalized process in which concepts of science and religion, China and the West were framed.
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MARTYNENKO, O., R. PAVLENKO, and D. ILIN. "UPDATING OF THE CONTENT OF TEACHING FOLK-STAGE DANCE AT HIGH EDUCATIONAL INSTITUTIONS OF UKRAINE." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 2 (October 6, 2022): 252–62. http://dx.doi.org/10.31494/2412-9208-2022-1-2-252-262.
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The article reveals the relevant aspects of the professional training of applicant of the first level of training within the higher education in specialty 024 «Choreography» which have been caused by the beginning of the military actionі in Ukraine. The publication actualizes the updating of the educational components which are oriented on the formation of readiness of the future choreographers for the teaching Folk-Stage dance within educational institutions of various types. The authors underlined the importance of the determination and highlighting of Ukrainian folk-dancing culture in the content of the discipline «theory and Methods of Teaching Folk-Stage Dance». This also requires the revision of the list of nationalities within this discipline’s content. The research work contains: the analysis of the problem field of the professional education of Bachelors in Choreography which was revealed in the scientific dissertations in 2021. It also contains the analysis of publications on Theory and Methods of Teaching Folk-Stage Dance; analysis of content of syllabuses from different higher educational institutions. These syllabuses were devoted to the Teaching Folk-Stage Dance as the particular educational component. The article has references on authors of scientific-methodical literature on Ukrainian Folk Choreography, links on video-lectures of prominent masters of Folk Dance from different countries. The authors described the content component of teaching Ukrainian Folk Dance considering the regional peculiarity and uniqueness of the educational-professional program «Choreography». It is grounded the updating of the content component of teaching students Folk-Stage Dance with the orientation on the exclusion of the cultures of countries-aggressors. The content updating of the Folk-Stage Dance must underline the regional component (analysis and acquaintance with the folk dances of countries-neighbors, acquaintance with the national minorities of Berdiansk region) and cultural Euro-integration of Ukraine (certain countries of the European Union). The article names forms and methods of teaching Folk-Stage Choreography in the online format, tested by the authors during the educational process. These form and methods proved their effectiveness in professional training of Bachelors in Choreography considering the standard of specialty 024 «Choreography». The importance of the scientific research is in the relevance of the revealed problem field, understanding and reaction of authors on the educational changes within the martial law in Ukraine, practical significance of the informational material within the professioanl training of Bachelors in Choreography. Key words: Bachelor in Choreography, Folk-Stage Dance, Ukrainian Folk Dance, Forms and Methods of teaching.
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Särg, Taive. "Elava rahvalaulu juurde jõudmine: Herbert Tampere teadlaseisiksuse kujunemine." Mäetagused 82 (April 2022): 81–130. http://dx.doi.org/10.7592/mt2022.82.sarg.
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The article analyses the life and activity of Estonian ethnomusicologist and folklorist Herbert Tampere (1909-1975), as well as the research history of Estonian folk songs until 1945, also paying attention to the influence of the Estonian Folklore Archives and its head Oskar Loorits. The historical background to Tampere’s activity is the establishment of independent statehood in Estonia (1919) after Estonians had existed as an ethic minority group subjected to the ruling classes of other nationalities for hundreds of years. The scientific and cultural background is constituted by the development of European folkloristics and ethnomusicology and the increasing prestige of folk music and non-western music in Europe, which contributed to the rise of the cultural self-awareness of Estonians as a nation with oral lore different from Indo-European culture. The approach is framed with the metaphor of life and death, which in Herderian way of thinking corresponded to the growth and fading of a nation and its creation. In the 1930s, Tampere brought into the discourse of the Estonian folk song, seemingly in opposition with the gradual fading of the living lore and complaining thereabout, a turn in writing about it, unexpectedly confirming that the folk song was alive. The older folk song started to disappear from public use in the 19th century, when people lost interest in its performance and the newer European folk music style spread more widely. At the same time, they tried to overcome the national inferiority complex that had developed due to existence as a lower class, as well as the oral culture considered as a sign of backwardness, creating on the basis of folklore a new national-language and valuable European literary culture. To accomplish this, the old, evolutionally lower traditional culture had to be abandoned. Writings about the dying folk song helped to encourage people to collect folklore and create distance with the past. In the 20th century, with the development of Estonian national self-awareness and literary culture and the rise of the nation’s self-esteem, and on the other hand the recession of Eurocentric and evolutionist way of thinking in the world of science, a new interest appeared in the structure and performance of the folk song, and it started to be increasingly appreciated and considered as living. Such changes in rhetoric indicate how reality is reflected subjectively, according to standpoints and circumstances. Considering the fact that in the 19th-century social evolution theory folklore and literary culture were attributed to different development stages of a nation, the nation with low self-esteem, striving for literary culture in the 19th century, could be satisfied with the dead folk song, yet in the 20th century, in the light of new culture concepts, it could be declared alive again. In summary it can be said that the following factors helped Tampere achieve a novel approach to folk songs in his research. 1. Tampere came from a talented and educated rural home, in which music and literature were appreciated and in whose neighbourhood different music styles were practised. His interests and skills were shaped by good education at schools with remarkable music teachers and an early contact with folklore collection at the Estonian Students’ Society. 2. Good philological education from the University of Tartu and work at the Estonian Folklore Archives, becoming familiar with folklore collections as well as other young folklorists and linguists, especially cooperation with Oskar Loorits, Karl Leichter, and Paul Ariste, added knowledge of newer research trends, such as ethnology and experimental phonetics. Maybe, paradoxically, the absence of higher music education, which would have directed the young man towards other music ideals, was positive in this respect. 3. The knowledge acquired of the methods and way of thinking in comparative music science provided a theoretical basis for understanding, valuing, and studying non-western music. Professional work was also supported by the development of sound recording and -analysis. 4. The immediate contact with living folk music already in his childhood and later on, when collecting folklore, elaboration of folk songs in the archives and compiling voluminous publications made this manner of expression more familiar. Tampere must have enjoyed the performance of at least some of the regilaul songs as he mentioned nice impressions and the need to delve deeper; also he recorded, studied, and introduced these songs to the public. 5. The heyday of national sciences and national ideals in the Republic of Estonia valued engagement in folklore as the basis of cultural identity. The first folk music reproductions appeared, such as folk dance movement and runic verse recitals at schools, which was why the issues of performance started to be noticed and studied. Oskar Loorits supervised the study and publication of the most Estonian-like (in his own opinion) folklore – folk songs – and it was probably also his influence that made Tampere study the problem of scansion, to systematize and study folk songs, and compile publications.
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Kastrati, Nexhmije. "Ismail Kadare's views on Albanian epic culture and folklore in the literary work "Autobiography of the people in verse"." Technium Social Sciences Journal 33 (July 9, 2022): 587–95. http://dx.doi.org/10.47577/tssj.v33i1.6826.
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It is about one of the literary works discussed numerous times and in many literary dimensions, both national and international, that looks into the efforts, phenomena, history, and naturalness of the Albanian popular culture in front of the great European cultures, particularly those of Balkan countries. The great writer Kadare, who had entered through the great gates in the most important national and historical events and had penetrated very deeply into the social life and the psychology of his people, indeed, would not happen to be by chance and unexpectedly in the rich field of Albanian folk creativity. In the process of research, popular creativity remains a life-force and inspiration passed down from one generation to another. As he puts it "When you browse folk poetry, you experience a sense of eternity, reality, space. You want to live, to love, to have children, to be a mother, to be a father, to be a son-in-law, to go to war, to return from her, even to die as in a song”. Culture, poetry and popular prose in Albanian literature are emphasized in these writings, in particular, in those that have a national character, and thereby even communicate freely and strongly with artistic literature like nowhere else.
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Lee, Becky R. "The treatment of women in the historiography of late medieval popular religion." Method & Theory in the Study of Religion 8, no. 4 (1996): 345–60. http://dx.doi.org/10.1163/157006896x00233.
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AbstractThe study of medieval European popular religion is broad and diverse, drawing upon a variety of sources and addressing a multiplicity of questions. Underlying that diversity, however, is a single quest: to unearth and analyze religion as it was experienced and practiced by the "common folk".1 For the past twenty years women have been explicitly and deliberately included in that analysis. Evident in the literature, however, are diverse and divergent opinions concerning both the ways by which to ascertain and interpret women's practices and beliefs, and their significance for the study of popular religion. This article explores those opinions and some of their implications.
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Nawrot, Klaudia, Ewelina Polak-Szczybyło, and Agnieszka Ewa Stępień. "Characteristics of the health-promoting properties of Cornus mas." European Journal of Clinical and Experimental Medicine 20, no. 2 (2022): 217–23. http://dx.doi.org/10.15584/ejcem.2022.2.11.
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Introduction and aim. The medicinal properties of Cornus mas L. have been used in European and Asian folk medicine for many centuries in the prevention and treatment of many diseases. The high biological activity of the plant results primarily from the presence of valuable ingredients, including anthocyanins, flavonoids and iridoid compounds. The aim of the article is to present the role of bioactive ingredients present in C.mas that determine its health-promoting properties. Material and methods. Review and analysis of the scientific literature. Analysis of the literature. The summarize information about in the field of phytochemical properties and therapeutic effects, among others anticancer, antidiabetic, neuroprotective, cardioprotective and antibacterial. Conclusion. The results of many in vitro and in vivo scientific studies They indicate the possibility of the potential use of Cornelian cherry to obtain valuable nutraceutical and pharmacological substances.
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Mironov, Arseny S. "The unique concept ofglory: Devaluation ofthevalue ofpersonal fame in the Russian folk epics." Literature at School, no. 5, 2020 (2020): 9–23. http://dx.doi.org/10.31862/0130-3414-2020-5-9-23.
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The article is dedicated to the concept of glory, which should be placed among the main concepts of the world’s folk epics. According to the author’s analysis (undertaken through the axiological, comparative-historical, and historical-genetic methods), glory – as rendered in Homer’s Iliad and Odyssey, The Mahābhārata, European and Oriental medieval epics, etc. – is most often related to the rumors about a concrete hero and emerges as a substitute of individual immortality or as a pledge of postmortem beatitude. Among nearly all known works of heroic poetry, only the Russian folk epics are fundamentally opposed to this interpretation: Bylinas don’t treat glory as a specific attribute belonging to this or that hero, but as a collective virtue of all Russian knights – the one intended to deter foreign rulers from their invasions of Russia and to protect, in this earthly world, both the divine law and suffering people. Accordingly, the article provides a comparison between different works of heroic folklore and Russian bylinas, which enables both to interpret more fully the axiological structure of the epic tradition as such (the notions of glory, honor, boasting, and rumor – the ones still insufficiently analyzed in scholarly literature and defined more precisely in the present paper), and to determine the principal originality of the Russian folk epics, their unique position among other oral songs of similar nature. In particular, a comparison between the heroic songs of Christian Europe and Russian bylinas allows the author to argue confidently that precisely the latter incarnated (in the most original and profound way, at different levels of their artistic structure, including plot, motives, and imagery) the values and the ideas of Christianity, its spiritual and moral potential.
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Kuznetsova, Vera S. "Legends of Folk Hagiography about St. Nicholas the Miracle-Worker and Their Siberian Texts: Threshing with Fire." Critique and Semiotics 10, no. 2 (2022): 211–23. http://dx.doi.org/10.25205/2307-1737-2022-2-211-223.
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In the oral tradition of the Eastern Slavs, stories about miraculous threshing with fire are well known (AaTh 752A, SUS 752A). Folk hagiography often associates with the name of St. Nicholas the Miracle-Worker. The article presents the results of a study of Siberian texts of such legends (including folk prose plots not taken into account by the indexes) in comparison with variants of similar narratives of the European territory of historical Russia. It was found that, along with the plot forms common to the East Slavic tradition, Siberian texts contain special versions of this plot, which are the result of contamination and mixing of folklore forms in the conditions of Siberian existence. Unknown in the texts of other territories, the contaminated versions of the Siberian stories about the miraculous threshing acquire special interest against the background of the fact that the Siberian versions of Russian fairy tales, as researchers have established, generally have a strong tendency to plot contamination and the complexity of the stories. Previously, these processes were traced on the material of fairy tales (Matveeva, 1990) and novelistic tales (Kuznetsova, 2019). The Siberian variants of contaminated plot forms of legendary fairy tales presented in the article make it possible to consider contamination as an increasingly universal creative device in Siberian storytelling.
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Liu, Yuqing. "Sinicizing European Languages: Lexicographical and Literary Practices of Pidgin English in Nineteenth-Century China." Sungkyun Journal of East Asian Studies 22, no. 2 (November 1, 2022): 135–58. http://dx.doi.org/10.1215/15982661-10040867.
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Abstract This article reconsiders the social, economic, and literary significance of Chinese Pidgin English (CPE) in Chinese society by exploring lexicographical and literary practices of pidgin in nineteenth-century China. Resituating the history of CPE in Chinese language history, this article problematizes the concept of pidgin and pursues three arguments. First, the author maintains that CPE arose from the marginalized status of the Euro-American traders who were restricted from learning the Chinese language in Canton. Second, by exploring foreign-language glossaries, this article foregrounds the key role of sinographs and Chinese topolects in mediating and remolding foreign languages. Last, by examining the appropriation of foreign sounds in Cantonese folk songs and Pan Youdu's poetry, this article demonstrates the complex flow of these sounds among different languages and the power of pidgin in transgressing linguistic boundaries.
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Anikeeva, Tatiana A. "Ali Shir Navai in Turkish Traditional Literature: Themes and Plots." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 2 (2022): 227. http://dx.doi.org/10.31857/s086919080019544-5.
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The legasy of Ali Shir Navai has influenced both Turkish and Ottoman literature and Turkish folklore. His poems penetrated into the Ottoman Empire since the 15th century, and in the 16th century became well known to the Ottoman poets. The article is devoted to the works of Navai in the literature and folklore of Turkey in the second half of the 19th - early 20th centuries. After the reforms of the Tanzimat era, Ottoman intellectuals turned not only to European philosophical thought and Western literature, but also to the Turkic literary heritage of Central Asia. In 1872–1873 (1289 AH), in Istanbul, under the editorship of Ahmed Vefik Pasha, Navai's didactic treatise (which was chronologically one of the poet's latest works) “Mahbub al-kulub” (“Beloved of Hearts”) was published. This publication laid the foundation for the scientific study of Ali Shir Navai in Turkey (works and translations by I. Hakkı, N. Asım, M.F. Köprülüzade), and also to a certain extent anticipated the expression of the ideas of Turkism. After this publication, the Chagatai-Ottoman dictionary of Sheikh Suleiman of Bukhara was published in Istanbul in 1880–1881, which also testifies to the interest in the cultural heritage of the Timurid era in Turkey in the second half of the 19th century. At the same time Ali Shir Navai himself becomes the prototype of the hero of Turkish folklore as the character of the folk narrative about Gül and Mir Ali Şir which performed in Turkey up to the middle of the 20th century
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Łuczyński, Michał. "A Fragment of the Mythological Discourse of the Pagan Slavs in Orthodox Literature." Respectus Philologicus 21, no. 26 (April 25, 2012): 132–41. http://dx.doi.org/10.15388/respectus.2012.26.15481.
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Textual reconstruction is a very peculiar linguistic discipline and, although scores of scientific publications profess to deal with it, there are still not many theoretical works dealing with its methodological foundations. In a number of works published since the early 1960s, several Russian linguists of the semiological school of Tartu University – V. V. Ivanov and V. N. Toporov – have developed a distinctive approach to textual reconstruction. Their hypothesis of the “basic myth,” as they call the Slavic myth about the duel of the Thunder God (*Perunъ) and his adversary (*Velesъ), is based on the comparative and structural analysis of a huge number of historical and folk texts of many traditions, as well as on typological confirmations and binary interpretations. Linguists such as T. M. Sudnik, T. V. Civ’jan and R. Katičić have been strongly influenced by this school. Actually, these elements are not found in the works of Radoslav Katičić, who has contributed a reconstruction of Balto-Slavic texts connected with pagan fertility rites as correlated with the myth of an incestuous marriage between the son of the Storm God and his sister; however, the way he uses folklore material owes a lot to Ivanov and Toporov.The author of this work focuses on the problem of the possibility of reconstructing mythological discourse as a method of paleolinguistic research. This paper is intended as a synthetic overview of one of the neglected topics of textual reconstruction – the intertextual analysis of literary Old Russian texts. The article is centred on the reconstruction of a fragment of pagan oral discourse on the basis of homiletic and paranetic literature. The result – a fragment of the myth about the Slavic god called *Rodъ – is compared with the theory of Indo-European textual reconstruction on the syntactic and paradigmatic levels and their corresponding contexts in various common Slavic languages. The article aims to use and examine theoretical ideas of this branch of Indo-European linguistics in a practical study of a text and its transformations.
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Boborykina, Tatiana A. "Tarnished Virtues: From Richardson to Beardsley." Dostoevsky and World Culture. Philological journal, no. 3 (2021): 98–120. http://dx.doi.org/10.22455/2619-0311-2021-3-98-120.
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The starting point of the article is a statement about “tarnished virtues” by one of the characters of Poor Folk, Fyodor Dostoevsky’s first novel. The word combination evokes various associations, allusions, and numerous variants of interpretation. A remark on virtues made in the frame of an epistolary novel immediately recalls the novels of a coryphaeus of the genre, 18th-Century English writer Samuel Richardson, especially his first one, in which the word “virtue” appears in the title – Pamela Or, Virtue Rewarded. However, Richardson’s comprehension of virtue seems to be quite narrow, a fact that had been already noticed by his contemporary writer Henry Fielding, who wrote a parody on Pamela. A brief analysis of the parody discovers a common vision on the nature of virtue by both Fielding and Dostoevsky, which becomes even clearer when one finds out their mutual reference point – Cervantes’ Don Quixote. The article explores other novels by Richardson, his influence upon European literature as well as his inner correlation with such writers as Karamzin and Pushkin. Besides, the article investigates the question – raised by its author some years ago – of a certain similarity between the plotlines of Clarissa and Poor Folk, the appearance of “Lovelace” in Dostoevsky’s first book, and the sudden turn of the plot from Richardson’s glorification of virtue to Dostoevsky’s dramatic realism. A few interpretations of Poor Folk are briefly analyzed, including that of Aubrey Beardsley, who illustrated the novel. Several explanations of the sentence on “tarnished virtues” are explored, and finally, the author offers a new one.
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Boborykina, Tatiana A. "Tarnished Virtues: From Richardson to Beardsley." Dostoevsky and world culture. Philological journal, no. 3 (2021): 98–120. http://dx.doi.org/10.22455/2541-7894-2021-3-98-120.
Full textAbstract:
The starting point of the article is a statement about “tarnished virtues” by one of the characters of Poor Folk, Fyodor Dostoevsky’s first novel. The word combination evokes various associations, allusions, and numerous variants of interpretation. A remark on virtues made in the frame of an epistolary novel immediately recalls the novels of a coryphaeus of the genre, 18th-Century English writer Samuel Richardson, especially his first one, in which the word “virtue” appears in the title – Pamela Or, Virtue Rewarded. However, Richardson’s comprehension of virtue seems to be quite narrow, a fact that had been already noticed by his contemporary writer Henry Fielding, who wrote a parody on Pamela. A brief analysis of the parody discovers a common vision on the nature of virtue by both Fielding and Dostoevsky, which becomes even clearer when one finds out their mutual reference point – Cervantes’ Don Quixote. The article explores other novels by Richardson, his influence upon European literature as well as his inner correlation with such writers as Karamzin and Pushkin. Besides, the article investigates the question – raised by its author some years ago – of a certain similarity between the plotlines of Clarissa and Poor Folk, the appearance of “Lovelace” in Dostoevsky’s first book, and the sudden turn of the plot from Richardson’s glorification of virtue to Dostoevsky’s dramatic realism. A few interpretations of Poor Folk are briefly analyzed, including that of Aubrey Beardsley, who illustrated the novel. Several explanations of the sentence on “tarnished virtues” are explored, and finally, the author offers a new one.
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Amen, Kosar Rashed, Hassan Bulkhari Ghahi, and Sayed Mohammad Fadavi. "The history of the stages of painting art in the Kurdistan region of Iraq during the twentieth century." Halabja University Journal 6, no. 3 (September 30, 2021): 115–36. http://dx.doi.org/10.32410/huj-10393.
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The current paper attempted to study the history of painting art stages in the Iraqi Kurdistan region during the twentieth century as a corpus of study. Here, the researcher tries to answer these questions: from what date, through what stages, and in what ways did the art of painting enter the Kurdistan region? The results of the study showed that painting art has gone through two major stages in Kurdistan. First, during the first half of the twentieth century (1900), the painting was primarily non-academic and folk art. Then, during the second half (1950 onwards), other than the exitance of the folk painting art, modern and academic painting styles have also entered the field of the Kurdistan region's art through three ways. These ways were: first, through those artists who have visited European countries and the US and became acquainted with different modern painting styles. The second way was by those artists who studied painting at Baghdad University, and the third way is through traditional patterns and handmade items such as carpets, kilims, rugs, etc. The research method is basic-theoretical in terms of purpose and descriptive-analytical regarding the method with a historical approach. Literature review and observation were two data collection techniques of the study.
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Tigountsova (Hellebust), Inna. "“Chizhiki tak i mrut”." Philosophy Journal of the Higher School of Economics 5, no. 3 (September 29, 2021): 172–87. http://dx.doi.org/10.17323/2587-8719-2021-3-172-187.
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My article will investigate the ways in which metaphors for birds, especially birds of song, in the correspondence between the protagonists of Dostoevsky's novel “Poor Folk” (Бедные люди, 1846) — Makar Devushkin and Varen'ka Dobroselova — refer back to Goethe's scandalously popular epistolary novel “The Sufferings of Young Werther” (Die Leiden des jungen Werthers, 1774). I propose that Dostoevsky involves a metaphoric net as an oblique subtext of references to recent popular European literature to convey the idea of Romantic death (bearing in mind the extent to which “Werther”, though written in the late eighteenth century, retained its cultural relevance for Russian readers in Dostoevsky's time). As I am investigating the larger picture of Dostoevsky's treatment of death and suicide in his shorter fiction as well as his dialogue with Goethe on this subject, I also argue that in “Poor Folk” the parody and stylization of Romantic discourse in Rataziaev's texts (and elsewhere) reveals thematic parallels between the Russian and the German narratives, and demonstrates Dostoevsky's viewpoint on death, Romanticism and Realism. For the methodological basis of my study, I will apply Mikhail Bakhtin's ideas on parody and stylization from his seminal “Problems of Dostoevsky's Poetics” (especially from the chapter “Dostoevsky's Discourse”.
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Magyar, Zoltán. "The untold subgenre." Fabula 62, no. 3-4 (November 1, 2021): 259–78. http://dx.doi.org/10.1515/fabula-2021-0014.
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Abstract The history of international folklore research has seen several attempts to systematise the folklore texts. The (fairy) tale research has been the most productive, with nearly one hundred national tale catalogues available as well as the international tale catalogue at its fourth, improved edition. In contrast to tale and other epic genre (ballad, exemplum), the last 110 years of legend research have resulted in only a handful of books that systematised the folk heritage of the genre. Apart from a dozen of catalogues of aetiological and belief legends, until the publication of the Hungarian book series The Catalogue of Hungarian Historical Legends I‒XI, 2018, no comprehensive type- or motif index of national legends was available. This study is a review of the international pursuits in the European folklore research directed to systematise historical legends, which, to date, due to various reasons, have been only partially successful.
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Zabyaka, Ivan. "A EUROPEAN WITH A UKRAINIAN SOUL." Almanac of Ukrainian Studies, no. 22 (2017): 111–20. http://dx.doi.org/10.17721/2520-2626/2017.22.19.
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The article deals with Vasyl Gorlenko, one of the most prominent Ukrainian culturologists of the late nineteenth century – beginning of the XX century. Whose name on the one hand did not belong to the forgotten names: it is fixed in all professional encyclopedias, many articles have been written about it, it is mentioned in the memoirs of contemporaries, there are even three monographs, on the other hand all this is very small, going out from what was done by Vasily Petrovich. There are a lot of problems raised in the writings of V. Gorlenko. There are some that are extremely important. It was established that studying at the famous Sorbonne, he passed the beautiful school of the French theoretician of literature and art critic Ivan T., French classical literature and art, thus receiving a high level of education, education of the best spiritual traits of behavior, possessed at least 5 foreign languages. It was discovered that when V.Gorlenko returned to his homeland, he first met in St. Petersburg with many prominent figures who came from his native land. One of these places of acquaintances is "Tuesdays" by M. Kostomarov. It was on them that V. Gorlenko was a true school of Ukrainian studies. And when Ukraine appeared periodicals that were in line with its patriotic interests, V. Gorlenko began to work with them. In the newspaper Trud, after twenty years of actual silence about T. Shevchenko, the first in Ukraine is a fragment of Russian tales of Taras Shevchenko "A walk with pleasure and not without morality" and the story "The Musician" with some reproach to everyone else who hadn’t done it already. It was found out that the Ukrainian elite rallied around the magazine "Kievan old woman" (1882-1906): V. Antonovich, D. Bagaliy, M. Belyashivsky, P. Golubovsky, V. Domanytsky, P. Efimenko, P. Zhitetsky, O. Lazarevsky, O. Levitsky, M. Sumtsov, V. Tarnovsky and many others. Here were M. Drahomanov, M. Kostomarov, V. Vynnychenko, Panas Mirnyi, I. Franko, M. Staritsky and dozens of other Ukrainian scholars and writers. Among them Vasyl Horlenko. Currently, 114-th of his publications, contained in this publication, are known. Articles, reviews, reviews of publications, information, folk records - each of these publications is an example of scientific conscientiousness and responsibility of the author. It was here that his multifaceted talent of journalist, literary critic and historian, ethnographer and folklorist, art historian, expert in Ukrainian antiquity was revealed. Quite often, V.n Gorlenko was the first, who write about the works of P. Mirny, I. Franko, I. Karpenko-Karyi, M. Kropivnitsky, I. Manzhuro and many others. Invaluable source in the study of both the personality of V. Gorlenko and his environment is his correspondence. Currently, there are about 40 recipients and more than 700 letters to him and partly to him. He corresponded with many Ukrainian and foreign writers, scholars, and cultural figures. He loved Ukraine most of all and was afraid of those revolutions that were devastated, death, spiritual impoverishment, barbarism; advocated the steadfast development of society, feeling as an integral part of its people, small and great Nature. Therefore, it remained for us a bright star of the unimpeded space of culture.
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Мокиенко, Валерий Михайлович. "Za siedmimi morami:The Myth that has Become Real Life for Professor Viktor Krupa." Journal of Linguistics/Jazykovedný casopis 67, no. 3 (December 1, 2016): 219–31. http://dx.doi.org/10.1515/jazcas-2017-0009.
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Abstract The article is devoted to the anniversary of Professor Viktor Krupa – the known Slovak ethnographer and linguist. The object of the analysis was the name of one of the most popular books of Hero of the day – Za siedmimi morami („Over the seven seas“), which seems to be characteristic for the author’s biography. This excpression is included in the Slavic proverbs and sayings with the concept of „sea“. In this case, although the idiom za siedmimi morami is not fixed by any phrasebook or by the majority of monolingual and bilingual dictionaries of the Slovak language, it is widely known in colloquial speech and is often used in modern Slovak literature and the media. In the cited contexts, the expression retains its folk stylistic flavor, which often emphasizes the typical folk-poetic speech „increments“ to its meaning and rhythm, reinforcing the semantics of „remoteness“: za siedmimi ostrovmi a za siedmimi morami, za siedmimi horami a siedmimi morami etc. This variation suggested by the presence of Slovak folklore explicate version of our expression, where the numerical component of the „seven“ is replaced by „nine“ – za deviatimi horami, za siedmimi morami. Expression za siedmimi morami is one of the many „sea“ – sayings and proverbs recorded in the Slovak language. Each of them has its own distribution area, and its own history, sometimes going back to the ancient European cultural heritage. And in all of them reflect the semantics of infinite space, symbolized by component more („sea“), which created also the idiom za siedmimi morami. Linguistic analysis of the expression on the background of its Slavic correspondences shows that it has deep folkloric and mythological roots in the Slavic and Indo-European world. This ancient symbolism was explicated in the title of one of the many books of Professor Victor Krupa.
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Kaplin, Alexander, Olha Honcharova, Valentyna Hlushych, Halyna Marykivska, Viktoriia Budianska, and Svitlana Lavinda. "Slavic Scholar and Educator Pyotr Bezsonov (1827-1898): A Life and Legacy." Academic Journal of Interdisciplinary Studies 10, no. 3 (May 10, 2021): 134. http://dx.doi.org/10.36941/ajis-2021-0070.
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Nowadays the name of Pyotr Bezsonov, the acknowledged in pre-revolutionary Russia scholar, is known to but a narrow circle of researchers as some myths and stereotypes about him have proved difficult to overwhelm. Yet, he traced in the history of Slavic studies as an assiduous collector of ancient Russian and Slavic literature works and explorer of Bulgarian, Belarusian and Serbian folklore, folk songs in particular, a scrutinizer of the Slavic languages and dialects, a talented pedagogue and editor. Based on the genuine sources, such as letters, documents and memoirs, as well as nineteenth century publications, which have become the bibliographic rarities, this article aims to present the revised biography of the scholar through revealing the hitherto unknown or underestimated facts of his life and research activity; also, to highlight his achievements in the field of Slavic history, literatures and linguistics; finally, to determine the place deserved by Bezsonov in Russian and European culture as a whole. The special attention is given to the Kharkiv period, related to the years of his professorship at Kharkiv University.
Received: 17 February 2021 / Accepted: 9 April 2021 / Published: 10 May 2021
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Klieshchova, Oksana. "Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)." Linguistics, no. 1 (43) (2021): 77–87. http://dx.doi.org/10.12958/2227-2631-2021-1-43-77-87.
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Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the «Noise» is a very old Ukrainian vesnianka (spring folk song) that originates from pre-christian times and rituals related to nature, with its spring awakening; 3) the «Noise» is personification: well-organized energy, green forest, character of noise of the first spring greenery, God of the forest. Haivka (spring song) is the ancient name of round dances that was saved yet from the time, when our ancestors carried out ceremonial songs and dances in the protected groves round sacred trees. Aboriginal vesnianky (spring folk songs)-haivky are syncretic – singing and motion, words and action, song and dance are combined in them. Phenomenon of the song «Noise» that was presented on a song competition Eurovision by the Ukrainian electro-folk band «Go_A», consists in that on a background of «sleek and inexpressive pop songs» that sounded mainly in English, Ukrainian performers, leaning against old Ukrainian folklore traditions, offered to Europe Ukrainian powerful and catching «spring hymn» in a style of techno, that was perceived with gladness and fascination by European listener audience. Thus, firstly, Ukrainian haivka (spring song) became a world hit in 2021; secondly, the band «Go_A», keeping national identity, popularizes Ukraine, Ukrainian language and Ukrainian song; thirdly, it consolidates Ukrainian society; fourthly, it engages young people in patriotic education. Summarizing, it is possible to establish with confidence: 1) Ukrainian language and Ukrainian song are indivisible as they are organically interdependent and are the basic criteria of originality of nation; 2) the Ukrainian song as well as language unites nation; 3) we found out, firstly, that the old Ukrainian vesnianka (spring folk song) «Noise» became the basis of the song «Noise» of the Ukrainian band «Go_A»; secondly, we made sure that vesnianky (spring folk songs) and haivky (spring songs) were not identical concepts, as varieties of vesnianky (spring folk songs) are haivky – songs that were performed only in time of the Easter holidays; vesnianky (spring folk songs) are a cycle of spring songs that are sung from the Annunciation.
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Ichim-Radu, Mihaela Nicoleta. "Vasile Alecsandri: Unique Aspects of the Biographical Itinerary vs. Recovery of the Writer's Memory." Intertext, no. 1/2 (57/58) (October 2021): 76–81. http://dx.doi.org/10.54481/intertext.2021.1.08.
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Among the writers of his generation, Alecsandri is the most comprehensive one, expressing not only the patriotic aspirations and desires, but also the discoveries from the universe of the private life and trying to make himself noticed in almost all the main literary genres and species. By different circumstances, Alecsandri gets to travel through Moldavia, Wallachia, Bucovina and Transylvania, to the European part of Turkey, to Italy, Austria, Germany, France, Spain, Great Britain, North of Africa, either for personal pleasure, to accompany Elena Negri, who was trying to find a more favourable climate for her fragile health, or for official business. All these travels and each of them separately are part of the development of his creation, leaving marks in his fiction and poetry and “it is printed on the screen of the human experience which defines his public and private personality”. In one of these travels, Alecsandri will discover the folk poetry, discovery which will profoundly mark his destiny as a writer and it will also have immeasurable consequences on the entire development of the Romanian literature from the last century, but also from the years to follow. As a result of the translations into French, German and English of the folk poems or of some of his original poems, Alecsandri becomes one of our first modern writers who became famous also abroad, being accessible to the foreign world.
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Plyukhanova, Maria B. "“Dream of the Virgin” – “Sogno di Maria” in the Context of Italian Literary and Folk Texts about the Passion of Christ." Texts and History: Journal of Philological, Historical and Cultural Texts and History Studies 3 (2021): 34–61. http://dx.doi.org/10.31860/2712-7591-2021-3-34-61.
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The “Dream of the Virgin” is an apocryphon about the Passion of Christ, revealed to the Mother of God in a visionary dream. It circulated among many European nations in the form of a spiritual verse, a narrative, a prayer, or an incantation. Starting with the fundamental work of A. N. Veselovsky, this story has been an important subject of comparative research up to the present day. The oldest manuscripts with texts related to it are of Italian origin and date back to the 14th and 15th centuries. The article presents features of the Italian tradition of the apocryphon in texts preserved in these early manuscripts and in more recent folklore recordings. In Italy, the “Dream of the Virgin” existed in the context of various poetic texts about the Passion of Christ and the Lament of the Virgin Mary. The development of Italian volgare literature on the theme of the Passion is associated with the cult of the Passion of Christ, which was extremely widespread in the 13th and 14th centuries. Some details in the Italian texts suggest that the motif of the Virgin Mary’s dream about the Passion possibly originated in the tradition of the Holy Land related to the Mount of Olives and Gethsemane
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Singleton, Brian. "Introduction: The Pursuit of Otherness for the Investigation of Self." Theatre Research International 22, no. 2 (1997): 93–97. http://dx.doi.org/10.1017/s0307883300020496.
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In his introduction to Culture and Imperialism, Edward Said lays to rest my fears of political incorrectness and of being orientalist in my teaching and research of Asian as well as European theatre practices and proto-theatrical forms. Said empowers me by locating my nationality (Irish) and the locus of my vision of the Orient in the very realm of the Orient: amongst the colonized peoples of the world. Theatre historians in recent years have embraced Said's modernist dichotomies of Orientalism, and mistakenly divided the theatrical manifestation of culture into West/East, first world/third world, bad/good, colonizers/colonized. The simplicity of such binary opposites consequently denounces and sanctifies. The politics of culture, however, is a much more complex affair. Modern Irish theatre, for example, contemporaneous with social struggle and revolution, is lauded by Said as a strategy of resistance against cultural imperialism. In Asia the resurrection of pre-colonial dance forms and folk traditions is similarly seen as a cultural assertion of independence. Conversely fin de siècle European theatre divorced from its formalist, societal and religious origins has looked to the oriental theatres for inspiration. In the same mistaken paradigm à la Said, this is branded as eclectic purloining of the surface of foreign cultures of the third world, a colonial plundering disguised as aesthetic pursuit.
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Melichárek, Maroš. "War Song in a Service of Ideology. Comparative Essay on the Example of Yugoslav and Ukrainian-Russian Conflicts." Balkanistic Forum 30, no. 3 (October 5, 2021): 148–68. http://dx.doi.org/10.37708/bf.swu.v30i3.7.
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Both the official army music and combatants’ informal folk songs have always played a noteworthy role in their respective societies regardless whether this music was created as means of actual propaganda or subsequently as part of reinvented commemorative culture. This article focuses on comparison of the two most recent European armed conflicts, namely 1) the ethnically motivated conflicts in former Yugoslavia between 1992 and 1995/1999, and 2) the interethnic violence followed by Russian military intervention in Ukraine in 2014; the Russo-Ukrainian conflict has not yet been settled and still threatens to escalate. Building on wide range of primary and secondary sources (mainly of Western, Central and South-Eastern European provenience) that has been ignored by a regional scholarship, the paper seeks to provide a contextual background behind the war songs and to compare their prevalent patterns and typology of their inner dynamics and transformations. This paper will not inquire into international, economical or military implications of the aforementioned armed conflicts; it will focus specifically on textual and contextual analysis of those songs. Study brings completely new insights on phenomenon of war songs in East European and former Yugoslav environment and brings much-needed light on the intertwined social, cultural and identity relations that can be established between the former Yugoslav and post-Soviet countries. This topic is very important since state doctrine, national narratives, historical memory affect current and also future development of both regions what is clearly visible on elaborated material.
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Saljic, Jovana. "Literature, religion and the birth of a nation: The creation of the “literary Bosnianhood”." Zbornik Matice srpske za drustvene nauke, no. 164 (2017): 665–80. http://dx.doi.org/10.2298/zmsdn1764665s.
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The question of national identity and nationality of the group of people inhabited in a particular geographical area, despite numerous theories which over the last nearly two and a half centuries have been giving the variety of answers, most frequently is related to a common ethnical background, culture, history, tradition, and as it was considered for a longer period of time, a common language. Although it is not uncommon for members of one ethnic group to profess the same religion in the vast majority, the religion, at least according to the theories of the nation, has never been an essential definition of the national identity. It should not be surprising if we take into account the circumstances that led to the awakening of nations and national movements in the 19th century of the European Enlightenment period, when the other form of togetherness started to replace a religion dominant for centuries. Thus, in forming national consciousness, religion found itself in the last place. On the other hand, if nationality formed by a religion was unacceptable for the theories of the nation, forming a national literature by the religious affiliation would have been unthinkable. By the simple analogy, the first was excluding the other which means that if it was not possible for the religion to form a nation, it was also not possible to form a national literature. At least, it was common opinion. However, right in the European region where those theories had been developed, we can also find the first case to refute them. And we can do that with the so-called Bosnian- Muslim literature that have made its first steps during the second half of the 19th century as ? mean in the creation of the new Bosnian nation. It was not the religious literature with religious themes and motifs, but the literature of the religion, of the members of a religion in an effort to create their own national identity based on a religious one. In that sense, there were three most important literary events that made the foundations for the creating the so called ?literary Bosnianhood? in the last decades of the 19th century: a collection of proverbs and lessons called ?National Treasure? by Mehmed-beg Kapetanovic Ljubusak, a collection of epic poems called ?Folk Songs of the Mohammedans in Bosnia and Herzegovina? by Kosta H?rmann and the launch of the literary magazine called ?Bosniak?. The paper presents historical, political and social circumstances that had led to those literary events, the birth of the new type of literature as well as the new Bosnian nation and national identity.
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Stefek, Jakub. "The ethnical factor in european literature for the organ in the 19th and the first half of the 20th centuries based on works by british, italian and Jewish Composers." Notes Muzyczny 1, no. 15 (June 21, 2021): 43–55. http://dx.doi.org/10.5604/01.3001.0014.9689.
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The article presents examples of the emphasised ethnical factor in works belonging to the European organ literature of the 19th and the first half of the 20th centuries, found in pieces written by British, Italian and Jewish composers. In case of British composers, significant were the proposals of Ralph Vaughan Williams, who primarily saw folk songs as the tool for expressing a national style. Among the composers who wrote music inspired by traditional songs or quoting them directly (which was an important novelty in the British organ literature) were: Cecil Armstrong Gibbs, Percy Whitlock, Cyril Bradley Rootham, Geoffrey Turton Shaw, Harold Carpenter Lumb Stocks, and more. The influence of national elements on Italian organ literature is not as strong but it seems justified to assume that some composers might have been influenced by the romanità myth which identified the features of the Italian nation with the ideas allegedly drawn from the traditions of ancient Rome. These composers were Giuseppe Corsi and Alfredo Casella. It is worth paying attention to the phenomenon of writing organ masses which preceded the popularisation of that myth. In this context, composers of Jewish organ music attempted to emphasise the ethnical factor in their works in the clearest, most consequent and most comprehensive ways possible. Abraham Zevi Idelsohn summed up their ideological programme, indicating that music meant for being performed in synagogues, including Jewish organ music, should be based on traditional melodies and scales, at the same time using tonal harmonic systems, which was supposed to allow for introducing prayerful atmosphere and concentration of the audience as well as understanding it properly. This group of composers included Louis Lewandowski, David Nowakowski, Arno Nadel, and others.
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Skujytė-Razmienė, Asta. "Don’t Hurt Anybody, or You’ll Get the Mare: Connections between Common Cold and the Mythical Being slogutis in Lithuanian Folklore." Tautosakos darbai 54 (December 20, 2017): 70–90. http://dx.doi.org/10.51554/td.2017.28525.
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In the Lithuanian folk medicine, classification of illnesses rests on several aspects, including separation of sicknesses affecting children and grownups, or discerning conditions caused by other untreated troubles (like fright). Based on the level of contagiousness, infectious and noncommunicable illnesses are discerned. Those considered infectious encompass a rather broad range: from epidemic (like plague and cholera) to skin complaints (warts and scabies). The article is centered on the Lithuanian folk belief (LTR 1415/119/) attributing common cold to the infectious illnesses. Since this is an unprecedented case, the research aims at finding out if common cold was considered an infectious decease in the Lithuanian folk medicine and if so, on what grounds. The author attempts establishing a potential connection between cold (Lith. sloga) and the mythical being incubus (Lith. slogutis); also her aim is finding out if common cold meant the same thing in the 19th – 20th centuries as it does in the 21st one.According to the data from the “Dictionary of the Lithuanian Language”, other vernacular names for the cold (viral rhinitis) are established. This prompts deeper investigation of other possible meanings of the word sloga, thus leading to further examination of its fourth meaning – namely, the mythical being slogutis.According to etiological and folk belief legends, slogutis (incubus, or nightmare), a being that tortures people in their sleep, most frequently evolves from the dead unbaptized children. This being can appear both in anthropomorphic (child, man, woman, Jew) or zoomorphic (cat, dog, hen, pig) shape. Although in terms of gender slogutis correlates with the general European notion of succubus / incubus, it does not quite correspond to it. Motivation for choosing the victim could include disregard for the rules of the community life or violation of taboos, or perpetrating some wrongs (with slogutis as a punishment). There are references to oppression by slogutis as a form of revenge. Of course, in some cases the reasons for this torture remain unclear. Surveying of folklore and international contexts elucidates the notion of slogutis as a being threatening human health and life. Further analysis reveals that experiencing such nightmares was diagnosed as a decease, therefore slogutis could have been perceived not only as a supernatural being, but also as a sickness.The last part of the article deals with the notion of cold against the background of folk medicine. Apparently, some ways of treatment imply the notion of cold as something alien: there are attempts at creating a cold-unfriendly environment and mocking at the cold in hope it would feel offended and leave the patient alone. Sometimes people resorted to active measures and employed the pars pro toto principle attempting to destruct the sickness or to pass it onto somebody else. The research revealed that the notion of cold (rhinitis) is in some cases supplemented with elements of slogutis. This enables deeper understanding of the connection between those two sicknesses. Both synonymous usage (confusion) of the names and means of treatment allow asserting that cold and incubus (sloga and slogutis) could have been perceived as two sides of the same trouble – the external and the internal one. Although the data to prove the systematic status of cold / slogutis as an infectious decease in the folk medicine is scarce, the hypothetic possibility remains, encouraging further investigation of these materials.
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Šlekonytė, Jūratė. "August Schleicher as the First Publisher of Lithuanian Folktales." Tautosakos darbai 61 (June 1, 2021): 213–31. http://dx.doi.org/10.51554/td.21.61.10.
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The article focuses on the Lithuanian cultural activities of the famous German linguist August Schleicher (1821–1868). These activities included not only accumulation of linguistic data and writing of a Lithuanian grammar, but also recording and publication of the Lithuanian folklore. Schleicher edited the particularly valuable reader of the Lithuanian language and vocabulary (Handbuch der litauischen Sprache, Bd. 2: Lesebuch und Glossar, 1857), which included the first publication of Lithuanian folktales, among other kinds of folklore.The author of the article aims at elucidating the objectives and circumstances of Schleicher’s recordings of the Lithuanian folktales, establishing of their genres and defining the typical narrative qualities. Besides, the importance of the tales that Schleicher recorded in terms of the Lithuanian folklore research is highlighted.The letters that Schleicher wrote in the course of his research trip to the Eastern Prussia in 1852 reveal the kind of difficulties that he encountered during this journey, his ways of communication and his experiences while collecting the Lithuanian folktales. The folk narratives published in his Lithuanian reader and vocabulary include fifteen tales of magic, seven joke tales, four novella tales, three animal tales, three tales of lying, two tales of the stupid ogre, one religious tale, four folk-belief legends and one local legend. The scholar was the first to record numerous examples of various Lithuanian tale types, which mostly belonged to the popular Lithuanian oral tradition.The linguist himself highly valued his work among the Lithuanian inhabitants of the Lithuania Minor, being well aware that it served to the preservation of the declining culture at least in the scientific purposes. He hoped that folklore recorded and published by himself and his assistants could support the Lithuanians resisting the intense assimilation processes. The results of his research trip in the Lithuania Minor testified to the vitality of the folk narrative tradition among the local Lithuanians in the middle of the 19th century.By researching the Lithuanian language and recording the Lithuanian folklore, Schleicher established the importance of this culture to the Indo-European studies in general and attracted numerous followers that carried on with his scholarly activities. His activities prompted Lithuanians themselves to collect their oral folk heritage as well. Thanks to Schleicher, the first Lithuanian folktales were translated into German, published and attracted notice of the foreign scholars. Their subsequent publications reached even broader social layers. Therefore, Schleicher may be regarded as the promoter of the Lithuanian folktales across other countries. Nowadays the Lithuanian folktales published by Schleicher have been included into various folklore collections as anonymous folklore pieces and have acquired literary interpretations.
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Pejović, Roksanda. "An attempt to evaluate Serbian music between the world wars (1919-1941)." New Sound, no. 44-2 (2014): 143–55. http://dx.doi.org/10.5937/newso1444143p.
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When evaluating Serbian music between the two world wars, we take as our starting point compositions that are valuable in their own right, whether their creators were oriented towards tradition and moderate stylistic trends, or were adherents of the latest tendencies in music. Only compositions that defined their creators' stylistic profiles are considered. We are aware that the value judgments pronounced by older generations of musicologists may differ from the attitude that their younger colleagues have towards the same works. We also understand that the attitude towards the past changes to a degree, so that certain compositions once well received fade over time, but the most powerful and original ones lose nothing of their impact. We draw attention to the Romantic foundations and the inspiration that renowned European composers found in folk music in order that we may confirm the existence of the same phenomena in the music life of Belgrade. We also observe how Serbian composers mastered novel tendencies and how these tendencies endured, noting that they generally trailed behind analogous phenomena in literature and the fine arts (as was generally the case in Serbian cultural history).
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Fedorova, Elena A. "Experimental Novels by Nikolay Nekrasov and Feodor Dostoevsky in the Light of Ethnopoetics." Two centuries of the Russian classics 3, no. 2 (2021): 138–49. http://dx.doi.org/10.22455/2686-7494-2021-3-2-138-149.
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The article considers novels The Life and Adventures of Tikhon Trostnikov (1843) by N. A. Nekrasov and Humiliated and Insulted (1861) by F. M. Dostoevsky as experimental works in which the authors sought to combine European and national traditions. The reference to biographical material, the use of the structural method allowed to discover the similarity in genre content of the works and the difference of ideological attitudes of the authors. Both novels were created as autobiographical works, adventurous and satiric, included elements of “natural essay”, but each of the authors sought to use national genre content: Nekrasov's is a folk drama, and Dostoevsky refers to the traditions of Old Russian calendar literature, a literary story that shows the verification of the Holy Scriptures. Nekrasov failed to create a complete work, largely due to the narrative form, in which in some cases the parody begins to appear. But Dostoevsky managed to bring the novel to a new level, especially in his last works The Raw Youth and The Brothers Karamazov. Performing the task of “restoring the lost man”, Dostoevsky turns to the church calendar, Gospel allusions and parable plot.
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Lepianka, Dorota. "Less-standard claims to justice through the lens of media debates on minority education." Theory and Research in Education 19, no. 2 (July 2021): 127–47. http://dx.doi.org/10.1177/14778785211028400.
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The coexistence, not always peaceful, of multiple and often rival, conceptions of justice in education policy and practice is well recognized and problematized in the academic literature. Relatively little is known, however, about what kind of justice-related considerations occupy the ‘public mind’ and/or inform what Nancy Fraser calls ‘folk paradigms of justice’. The current article seeks to shed light on the public construction of the ‘what’ of justice in the realm of education by analysing selected debates on minority education politics that occur in news and social media in five European countries. Fraser’s tripartite model of justice as redistribution, recognition and representation constituted the starting point of the investigation. The results of a qualitative analysis of selected media content show that while Fraser’s framework resonates well with the popular understandings of justice, the tripartite typology is not exhaustive in accounting for all justice claims evoked in the public domain. In the light of the debates analysed, three types of ‘alternative’ claims seem particularly relevant for theorizing justice in education and/or seeking legitimacy for education policy: claims that appeal to civil rights and liberties, claims that appeal to procedural justice and claims that appeal to epistemic justice.
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Kononchuk, Oksana. "The artistic word and the “Language Issue” based on the M. A. Jamalzadeh writings." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 43–50. http://dx.doi.org/10.34079/2226-3055-2020-13-23-43-50.
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The paper is dedicated to the research of the specifics of the reflection of the “language issue” in the writings of M. A. Jamalzadeh – the founder of the modern short story in the Persian literature and to the influence and role of the artistic word in addressing this issue. In spite of the fact that there was one official national language in Iran and that it was the Persian language there was a great gap between the strata of the Iranian society and a huge misunderstanding between those strata because of the language differences of the Persian language spoken by them. The representatives of the Iranian clergy, the majority of poets, writers and scientists used plenty of Arabic words, phrases, quotes, whole sentences in their “Persian”. On the other hand, the Europeanized intellectuals used plenty of words borrowed from Western European languages, mainly from the French language. Both of these versions of the “Persian” were not understandable for common people, neither was the Persian literature, especially prose, created in Iran since XVI–XVII centuries till the very beginning of the XX century. Those were the issues to be addressed and the prominent intellectuals of Iran took the responsibility to deal with them. In 1921 young but much talented writer Mohammad Ali Jamalzadeh published his first book – the collection of short stories “Yeki Bud Va Yeki Nabud” (“Once Upon a Time”) and wrote a detailed preface to it in which he expressed his thoughts and ideas on the issue of the Persian language and the Persian literature. He invited the Iranian writers to write their works using new European literary genres, to use clear and understandable Persian and to enrich language of their writings by using elements of live folk speech. This preface became a manifesto of the new generation of the Iranian writers and intellectuals and played a great role in the formation of new Persian prose and in the solution of the problem of the national language of Iran. The stories of the collection “Yeki Bud Va Yeki Nabud” were the artistic illustrations of the ideas of its author proclaimed in the preface. In the brightest way the ideas of Jamalzadeh were embodied in the short story “Farsi Shekar Ast” (“The Persian is Sugar”) which is recognized to be the first Persian short story written in accordance with the rules of this genre in the modern European literature. In this short story M. A. Jamalzadeh managed using artistic methods and means to show much of beauty, richness and diversity of the Persian language and at the same time to show the problem of misunderstanding between the strata of the Iranian society, to show the huge cognitive dissonance between clergy and intellectuals on one hand and those who they were responsible for on the other. The next generation of the Iranian writers followed M. A. Jamalzadeh and in the next years the situation with the Persian language and literature in Iran has much changed.
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Ermolaeva, Nina L. "From the ancient Greek myth to the Russian literary archetypes in I.A. Goncharov’s novels." Literature at School, no. 5, 2020 (2020): 35–50. http://dx.doi.org/10.31862/0130-3414-2020-5-35-50.
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The article deals with the mythological sub-text as one of the connective means in the novel trilogy by Goncharov. The author of the article assumes that the creative thinking of Goncharov’s is epic and his understanding of world literary types can be seen as the basis for the theory of literary archetypes. The novelty of the approach to the sources is justified by the aim of the article, the latter being to show the reflection of the evolution of the author’s mythological thinking in his creating the literary archetypes by using various mythological and folk sources. Analysis of the mythological sub-text in the novel “A Common Story” allows to say that the author applied mainly the European tradition of the ancient myths, namely the myth of Oedipus to the modern life in Russia. Viewing “Frigate ‘Pallada’ ” the author of the article concludes that Goncharov returned from the world-wide journey “more Russian” than he had been before. Thus in the novels “Oblomov” and “The Precipice” he used not only the European cultural tradition but also the Slavonic mythology and Russian folklore. The result of his turning to the fairy-tale and Russian literature was the appearance of the archetype images of Oblomov and oblomovism and that of gown in his creative work. “The bylina sub-text” in the novel “The Precipice” helps to understand the rivalry of the atheist Mark Volokhov with the proponent of “the old truth” Tushin as the fight of the Russian epic hero with the serpent. The analysis of Goncharov’s articles of 1870s allows one to see his wish to create the archetype images of the characters from the Russian life. Arguing with A.I. Zhuravleva’s opinion that Goncharov did not manage to fulfill this task in “The Precipice”, the author of the article proves that the image of grandmother has come into the national consciousness as an archetype. It has direct connection with the archetype of the village that came into being in the Russian literature of XIX–XX centuries.