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Journal articles on the topic 'French Legends'
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1
Kovačević, Ivan. "Tolerance or Assimilation: The Legends of the Chinese Restaurant and "The Gypsy's Tavern"." Issues in Ethnology and Anthropology 4, no. 3 (December 10, 2009): 67–80. http://dx.doi.org/10.21301/eap.v4i3.4.
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Studying urban legends, the French folklorist Véronique Campion-Vincent posed the question of whether some of the more recent legends preach tolerance. The "elevator incident" or "swallowed ticket" legends display a different attitude to Others from that found in classic xenophobic urban legends. This different attitude is also to be found in two legends recorded in Serbia, namely, the legend of the Chinese restaurant and the legend of "The Gypsy's Tavern". An analysis of the two legends shows that the ambiguity of "tolerance legends" does not arise from the fact that they speak about a xenophobic environment while at the same time having a denouement that "preaches" tolerance, but rather from the fact that the "preaching" relates to those Others who have gone through a process of acculturation, who have been assimilated and who have accepted the rules of "our" culture. These legends do not preach tolerance towards the Otherness of Others but towards Others who are striving to become or have managed to become "Us".
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Havas-Kovács, Dominika. "Vie de Saint Alexis : the elements of the antique novel live on in a holy life." Graeco-Latina Brunensia, no. 1 (2023): 53–73. http://dx.doi.org/10.5817/glb2023-1-4.
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One of the most well-known legends of the Middle Ages, the life of Saint Alexius, has been immortalized in both Latin and French poetry. The story, known from Latin and French sources, has been combined from several previous versions into a single legend over long centuries. My essay analyses the earliest Old French version of Saint Alexius's story, showing how a relatively dryly written sacred life can transform into a narrative enriched by romantic turns and emotional lyrical inserts.
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Naha, Anindita, and Dr Mirza Maqsood Baig. "Overview Of Story- Le Morte D' Arthur." Think India 22, no. 2 (June 20, 2019): 138–43. http://dx.doi.org/10.26643/think-india.v22i2.8322.
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The legend of King Arthur and his knights of the Round Table is immemorial. The heroic knights and their king’s tales contribute western society a great literature that is still well- known today. King Arthur along with the theme of chivalry greatly impacted not only western civilization, but all of society throughout the centuries. King Arthur and his Knights of the Round Table have been around for thousands of years but are only legends. The first reference to King Arthur was in the Historia Brittonum written by Nennius a Welsh monk around 830A.D. The fascinating legends however did not come until 1133 A.D in the work Historia Regum Britaniae written by a Welsh cleric, Geoffrey of Monmouth. His work was actually meant to be a historical document, but over time many other writers added on fictional tales. The Round Table was added in 1155 A.D by a French poet Maistre Wace. Both the English and French cycles of Arthurian Legend are controlled by three inter-related themes:
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Naha, Anindita, and Dr Mirza Maqsood Baig. "Overview Of Story- Le Morte D' Arthur." Think India 22, no. 3 (September 21, 2019): 500–505. http://dx.doi.org/10.26643/think-india.v22i3.8316.
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The legend of King Arthur and his knights of the Round Table is immemorial. The heroic knights and their king’s tales contribute western society a great literature that is still well- known today. King Arthur along with the theme of chivalry greatly impacted not only western civilization, but all of society throughout the centuries. King Arthur and his Knights of the Round Table have been around for thousands of years but are only legends. The first reference to King Arthur was in the Historia Brittonum written by Nennius a Welsh monk around 830A.D. The fascinating legends however did not come until 1133 A.D in the work Historia Regum Britaniae written by a Welsh cleric, Geoffrey of Monmouth. His work was actually meant to be a historical document, but over time many other writers added on fictional tales. The Round Table was added in 1155 A.D by a French poet Maistre Wace. Both the English and French cycles of Arthurian Legend are controlled by three inter-related themes:
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KRAVETS’, Yarema. "LEGENDS AND CUSTOMS OF THE UPPER AND LOWER LUSATIAS IN THE RESEARCH OF THE FRENCH SLAVICIST MARIE DE VAUX PHALIPAU." Problems of slavonic studies, no. 68 (2019): 175–80. http://dx.doi.org/10.30970/sls.2019.68.3078.
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Background: The paper is devoted to the Sorabistic work of the French Slavicist Marie de Vaux Phalipau (1862-1946) Legends and Customs of the Upper and Lower Lusatias presented as a scholarly report in Amsterdam (September 1927). Author of a large number of Sorabistic publications and reports, published and annunciated in the 1920s – 1930s, she became a true champion of the Lusatian question. The scholarly problem of the study of the French Slavist Marie de Vaux Phalipau’s works is an integral part of Sorabistic studies in Ukraine, begun in the 1960-s. Purpose: In this research, the French scholar fell back on the the works of the reputed Slavicists, admirers of Sorabistic culture, viz. L.Kuba, V.Giusti a.o. This French scholar’s work is very important owing to its detailed descriptions of this people’s ethnography, local inhabitants everyday life. To highlight the proposed scholarly problem, Marie de Vaux Phalipau, out of the five delineated by her basic groups of the Lusatian legends, submitted two from each, viz.: legends of the land, those of water, legends stemming from historical reminiscences; legends and customs related to seasons; legends international in character. Some of them were treated in the researcher’s Sorabistic study The Green Venice. Lusatian Marshes (1927) when the problems in question resurfaced in the political and cultural European milieu. Results: The work by Marie de Vaux Phalipau written with a deep knowledge of Lusatian folklore is a component part of the extensive scholarly heritage of the French lady Slavicist, author of thorough research papers on the culture and everyday life of the Lusatian Sobs. Among her Sorabistic Studies, there still remain a number of works worthy of special attention; a narrative of them would enable one to create a full panoramic view of the Sorabistics of the outstanding French Slavicist admired by Lusatia. Key words: Marie de Vaux Phalipau, Sorabistic Studies, Upper Lusatia, Lower Lusatia, folklore, Lusatian legends, classification.
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Langbroek, Erika, and Francis Brands. "Der Fall Gregorius." Amsterdamer Beiträge zur älteren Germanistik 79, no. 2 (August 8, 2019): 227–73. http://dx.doi.org/10.1163/18756719-12340153.
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Abstract It may be that the French and German authors of La vie du pape Grégoire and Gregorius were so influenced by classical texts as part of their education that these Gregorian legends contain motifs and structural elements of a classical comedy or tragedy. Therefore these legends are compared with twelve comedies by Plautus and Terence.
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Zhuravleva, O. M., L. A. Ulianitckaia, and A. A. Shumkov. "“Flemish Legends” by Charles de Coster. The Peculiarities of the Traslations into Dutch." Discourse 7, no. 6 (December 21, 2021): 146–59. http://dx.doi.org/10.32603/2412-8562-2021-7-6-146-159.
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Introduction. Charles de Coster's “Flemish Legends” were published in 1858 in French. With the growth of the national consciousness of the Flemings, this book, having particular artistic and cultural meaning, had to be translated, anyhow, into the Flemish variant of Dutch. There have been several translations, which differ significantly. To understand the specifics and success of a particular translation, it is necessary to analyze the cultural-linguistic and socio-political circumstances of its creation, to study the personalities of the translators, their artistic biographies, and also to assess the impact of the culture-forming factors.Methodology and sources. The research methodology is based on the descriptive method. At that we take into account a lot of linguistic, historical, social and cultural variables. As a study material two translations of “Flemish Legends” into Dutch (1917 and 1998) are chosen, as well as several sources describing the history of Belgium after 1830. For collating the translations the comparative method is used, taking into account the lexical, grammatical and stylistic features of the analyzed texts.Results and discussion. Charles De Coster, being a bilingual, preferred the French language. This can be explained by his desire to make folklore an asset of the upper social class, mainly bilinguals and francophones, upon these legends being already known among the Flemings. In addition, for the proper resonance, it was more profitable to publish the book in French. It can also be assumed that the legends were collected throughout Flanders; therefore, there were significant dialectal differences and problems for choosing a unified version of the Flemish language. To convey the medieval flavor, Charles de Coster used a deliberately archaized language. At the beginning of the 20th century S. Streuvels created a specific translation, more reminiscent of calque from French and preserving the features of the original text. At the end of the 20th century, W. Spillebeen translated the French text into a modern language, which was not the Belgian Dutch, but the standard Dutch.Conclusion. The translations discussed are quite different. S. Streuvels retained the style and structure of the original text, so his work was difficult for perception even by his contemporaries, and today the translation has become practically unreadable. W. Spillebeen tried to translate the legends into a modern language, bringing the structural components in line with the modern norm and preserving only the most necessary archaisms. Nevertheless, the text of the “Flemish legends” in the Belgian Dutch does not exist: they are written either in dialects, or in the “Frenchified” Dutch, or in the standard Dutch.
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Vo, Khai Hoang. "THE LEGEND OF THE ANTI-FRENCH HERO NGUYEN TRUNG TRUC IN THE CULTURAL LIFE OF RESIDENTS IN SOUTHERN VIETNAM." Scientific Journal of Tra Vinh University 1, no. 35 (January 8, 2020): 22–27. http://dx.doi.org/10.35382/18594816.1.35.2019.199.
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This paper presents the legend of the hero Nguyen Trung Truc in the life of Southern residents. The results showed that the hero Nguyen Trung Truc had left a deep impression in the hearts of the people. People have worshiped and created many fantastic, strange stories about his life and career which associated with the painful and proud history period of the nation. Those are the legends about the youth, the glorious feats of arms, the death and the reincarnation of the national hero.
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Gambino, Francesca. "Francis, France, the French. Was French culture in fact central to St. Francis of Assisi?" Zeitschrift für romanische Philologie 139, no. 1 (March 9, 2023): 187–235. http://dx.doi.org/10.1515/zrp-2023-0007.
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Abstract This article explores Francis of Assisi’s relationship with France, starting with his name, and concluding that the importance of courtly culture for his personal development is generally overestimated in scholarship. In some hagiographic sources, it is indeed said that Francis used to praise God in French, but the contexts make it clear that this ability is instilled by the Holy Spirit and is therefore a glossolalic (‘divinely inspired speech’) phenomenon. Other references to French culture appear only in hagiographic legends, never in the writings of Francis, and are mainly attributable to the cultural climate of the period in which these later works were written.
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Kruszyński, Bartosz. "Regiments from the Province of Posen in the Final Engagements of the Battle of Verdun in December 1916." Przegląd Historyczno-Wojskowy 23, no. 2 (2022): 60–83. http://dx.doi.org/10.32089/wbh.phw.2022.2(280).0003.
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The last episode of the Battle of Verdun took place in December 1916. At that time, the French army, having a considerable advantage in this section of the front, conducted a daring offensive. Four French divisions were opposed by five German divisions, including the 10th Infantry Division from the Province of Posen. The French side threw elite colonial divisions into the fray, who conducted daring strikes and managed to recapture ground that was lost in the previous months. This area included sites that have grown to become symbols and legends of the Battle of Verdun – the Fort de Douaumont and the village of Douaumont.
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Pedrosa, José Manuel. "El conde Eberhard el llorón (1853) y El salto de los amantes (1883): el itinerario Alemania-Francia-España en la leyenda medieval-romántica= Count Eberhard the crying (1853) and The Lovers’ Jump (1883): the Germany-France-Spain itinerary in the medieval-romantic legend." Estudios Humanísticos. Filología, no. 41 (December 18, 2019): 91. http://dx.doi.org/10.18002/ehf.v0i41.6008.
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<p>Varias leyendas publicadas en la prensa española del siglo XIX son traducciones o adaptaciones de leyendas publicadas en libros y en periódicos franceses, que a su vez son traducciones de leyendas alemanas. Las fuentes remiten a personajes y acontecimientos de la Edad Media, aunque reinterpretados primero en el Renacimiento y después en la época romántica. Se analizan además algunas de sus versiones iconográficas.</p><p><strong>Abstract</strong>:</p><p>Several legends published in the 19th century Spanish press are translations or adaptations of legends published in books and French newspapers, which in turn are translations of German legends. The sources refer to characters and events from the Middle Ages, although they were reinterpreted first in the Renaissance and later in the Romantic period. Some of their iconographic versions are also analysed.</p><p> </p>
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Geetshikha Bhargava and Dr. Sadhna Chaturvedi. "Culture and Society in the poems of Toru Dutt." Creative Launcher 4, no. 3 (August 31, 2019): 46–49. http://dx.doi.org/10.53032/tcl.2019.4.3.06.
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Toru Dutt, from the very beginning of her life, was under the influence of music and art. She was born in a well-educated family, already in deep love with literature. She was influenced by both the west and the east, the deep influence of Indian culture on her poetry, becomes obvious from the beginning sonnets of ‘Ancient Ballads and Legends of Hindustan’ her another remarkable collection of poems A sheaf Gleaned In French Fields which consists of the original translations of the French poems which reflects the influence of the west.
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Veszpremy, Laszlo. "King St Ladislas, chronicles, legends and miracles." Saeculum Christianum 25 (April 25, 2019): 140–63. http://dx.doi.org/10.21697/sc.2018.25.12.
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Much can be read in the Hungarian chronicle versions and Latin legends about the figure of King St Ladislas (reigned 1077–1095, canonized 1192), the most popular saint in Hungary by the middle of the fourteenth century. These sources are all enlarged and interpolated representation of the elements of the surviving nomad traditions, the chivalric ideas of the Hungarian royal court, elements of the French crusader traditions of the Angevin court, the memory of the struggle against the Mongols in 1241–42. This paper focuses on some of these motifs, like becoming a fictive leader of the First crusade, and a fictive successor to the imperial throne. The paper confronts the textual differences between the legends and the chronicles and tries to answer the question why the hagiographic and liturgical texts neglect his fights against the heathen.
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Neville, Grace. "Medieval French Fabliaux and Modern Urban Legends: The Attraction of Opposites." Béaloideas 57 (1989): 133. http://dx.doi.org/10.2307/20522335.
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Seidova, Nargiz. "Diachronic Analysis and Deictic Means of French Benevolences and Curses." Chuzhdoezikovo Obuchenie-Foreign Language Teaching 48, no. 2 (April 25, 2021): 175–82. http://dx.doi.org/10.53656/for21.26dia.
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Benevolences and curses, integral and authentic part of the discourse, most clearly reflect the culture of people. The use of these expressions in the communication space of different languages indicates the need for their study from the standpoint of linguistics, folklore, stylistics, rhetoric, psychology, cultural studies and other sciences. This article provides diachronic analysis and examines the deictic means of French benevolences and curses in the French language. The material for the study was the texts of the Bible, French epic poems, medieval legends, ballads, tales, and fiction. When considering this topic, the author used both general and special scientific methods and techniques: a historical-etymological method, a descriptive method that includes methods for observing, comparing, interpreting and classifying the material being studied; semantic identification method; distribution method. Comparing the medieval French discourse with the modern French language, the author examined the grammatical and semantic evolution, which underwent benevolences and curses.
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Sponsler, Claire. "Death by Drama and Other Medieval Urban Legends. By Jody Enders. Chicago: University of Chicago Press, 2002; pp. xxx + 324; 9 illus. $35 cloth." Theatre Survey 46, no. 1 (May 2005): 159–61. http://dx.doi.org/10.1017/s0040557405360091.
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Death by Drama is revisionist theatre history at its invigorating best. Taking her cue from modern studies of urban legends, Jody Enders treats theatrical apocrypha—such as the well-known account of a convicted heretic who was supposedly executed on stage during a performance of the drama of Judith and Holofernes in 1549 in Tournai—not as fact, as such stories have often unquestioningly been taken, but as medieval urban legends that reveal spectators' attitudes toward the theatre as a place of potential threat where the true and the false dangerously mix. Looking at such legends as expressions of a culture's specific hopes, fears, and anxieties, Enders examines the “ways in which early France told, retold, invented, and reinvented stories of the tenuous boundaries between theatre and real life, thereby helping audiences to confront the nature of artistic representation” (xxiv). Although Enders's focus is medieval French theatre, her reach extends to modern theatre, film, and media, and her impeccable historical scholarship is enriched by savvy recourse to contemporary critical theory and performance studies. The resulting book shakes up settled assumptions about “what really happened” on the medieval stage, while raising profound questions about theatre's social functions then and now.
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Breeze, Andrew. "Keith Busby, French in Medieval Ireland, Ireland in Medieval French: The Paradox of Two Worlds. Turnhout: Brepols, 2017, x, 516 pp." Mediaevistik 31, no. 1 (January 1, 2018): 245. http://dx.doi.org/10.3726/med012018_245.
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“I have surveyed an enormous amount of material in the preceding pages” is Keith Busby’s comment on his book (p. 419). True enough. Seldom has an author treated Ireland’s early literature as ambitiously as he does, and Busby’s achievement is the more remarkable given the scantiness of the material. French literature surviving from medieval Ireland is (like literature in English) interesting but meagre. These texts of the twelfth to fourteenth centuries being few, the author fleshes out his material with writing on Ireland from Britain and the Continent, including legends of Arthur and of the Irish princess Iseult or Isolde. That at once makes French in Medieval Ireland essential for Romance scholars, as well as for medievalists concerned with the Irish.
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Guglieimi, Luc. "Written Text to Oral Presentation." Popular Culture Review 29, no. 2 (June 2018): 193–200. http://dx.doi.org/10.1002/j.2831-865x.2018.tb00238.x.
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ABSTRACTIn Belgium, as it is the case in other parts of the world, people have always told stories. However, since 1975, in the French part of Belgium, a resurgence of oral storytellers, telling legends in a variety of environments, from the jail to boy scout meetings, has occurred. The oral tradition is no longer limited to the family circle and has been freed from spontaneity. Instead, these events are planned and, for a fee, anyone can come and listen to the storytellers, sometimes professionals, sometimes amateurs. This article will examine the classifications of these stories being told as well as the various functions these stories have in the French speaking part of Belgium.
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Джанаева, Л. Н. "Touches to the portrait…" NARTAMONGÆ 18, no. 1-2 (January 19, 2024): 7–17. http://dx.doi.org/10.46698/vnc.2024.44.10.001.
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Данная публикация приурочена к восьмидесятипятилетнему юбилею ведущего французского специалиста по литературе средневековья Жоэля Грисвара и посвящена зна- комству автора статьи с ученым. В материале рассматриваются история поездки Жоэля Грисвара в составе небольшой делегации из Франции во Владикавказ, а также представле- на вырезка из газеты о новой книге Жоэля Грисвара «Меч, брошенный в море, романы круглого стола и легенды о Нартах», где автор указывает на сходство легенд о Короле Артуре с кавказской мифологией. В статье опубликованы отрывки из автобиографии Жо- эля Грисвара на французском языке, а также глава из книги ученого, посвященная Гавейну, Рыцарю Солнца. This publication is dedicated to the eighty-fifth anniversary of the leading French specialist in medieval literature, Joël Grisward, and is dedicated to the acquaintance of the author of the article with the scientist. The material examines the history of Joel Grisward's trip as part of a small delegation from France to Vladikavkaz, and also presents a newspaper clipping about Joel Grisward's new book “The Sword Thrown into the Sea, Romances of the Round Table and Legends of the Narts,” where the author points out the similarities between the legends of King Arthur with Caucasian mythology. The article publishes excerpts from Joel Grisward's autobiography in French, as well as a chapter from the scientist's book dedicated to Gawain, Knight of the Sun.
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Bernard, Isabelle. "Engagement et mélancolie dans Écoutez nos défaites de Laurent Gaudé." arcadia 58, no. 1 (June 1, 2023): 107–25. http://dx.doi.org/10.1515/arcadia-2023-2001.
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Abstract This article analyzes the place of commitment and melancholy in the novel Écoutez nos défaites (Listen to our defeats) by French writer Laurent Gaudé (born in 1972). A dense, complex and multi-generic novel, it has a strong anchoring in contemporary historical events. Gaudé’s singular work, begun more than twenty years ago, scrutinizes the melancholy and lyricism which cross it in filigree, using universal literary heritage as its source – from Greek tragedy and the African tale, through immemorial myths and legends, to current world literature.
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Labate, Simon. "La Classe américaine." English Text Construction 10, no. 1 (June 15, 2017): 21–36. http://dx.doi.org/10.1075/etc.10.1.02lab.
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On 31 December 1993, French pay TV channel Canal+ broadcast a 70-minute film called La Classe américaine, directed by Michel Hazanavicius and Dominique Mézerette. They took excerpts from about fifty Warner Bros. productions, edited them to build a story and had the characters (played by A-list actors such as John Wayne and James Stewart) dubbed over by well-known French voice actors, resulting in what is known technically as a ‘détournement’, combining the techniques of film collage and dubbing. This paper sketches the origins and the production context of this very unusual audiovisual object, relying on insights from film theory, with particular reference to adaptation techniques like remixes and collages. The analysis also shows how meaning and humour are created through the montage of originally completely disconnected scenes and the addition of funny or crude dialogues that one would not expect from cinema legends like John Wayne. A final part highlights the film’s cult status and its influence on the creation of more détournements.
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Jones, Bridget. "Two Plays by Ina Césaire: Mémoires d'Isles and L'enfant des Passages." Theatre Research International 15, no. 3 (1990): 223–33. http://dx.doi.org/10.1017/s030788330000969x.
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In any consideration of theatre in the French Caribbean, the name Césaire is bound to be mentioned. Aimé Césaire's La Tragédie du roi Christophe (1963) is the most widely- known play in French by a black dramatist, and is now even in the repertoire of the Comédie-Française, and his plays figure widely in checklists of ‘African’ theatre. A revealing contrast can be made between the epic dramas of Aimé Césaire, written for an international audience, especially the newly independent black nations of the 1960s, and the work of his daughter, Ina. He tackles from the standpoint of Négritude major themes of historical drama: the nature of sovereignty, the forging of nationhood; he storms the heights of tragic poetry in French. She is attentive, not to the lonely hero constructing his Haitian Citadel of rock, but to the Creole voices of the grassroots. She brings to the stage the lives of ordinary women, the lore and legends that sustained the slaves and their descendants. Her achievement should of course be assessed away from her father's shadow, but the ‘divergent orientation of the two generations’ also suggests the greater confidence today in the role of Creole language and oral literature, and in a serious theatre within Martinique.
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Huber, Stephanie Lebas. "Silver and Sanctified Bookkeeping: St. Eligius and the Smelting of Sin in the Wittenberg Heiligtum." Zeitschrift für Kunstgeschichte 80, no. 3 (December 30, 2017): 329–48. http://dx.doi.org/10.1515/zkg-2017-0017.
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Abstract This article examines Lucas Cranach’s renderings of two non-extant silver gilt reliquaries made in the likeness of St. Eligius from the electoral Heiligtu. in Wittenberg. The significance of Eligius’s dual roles as both a metalworker for the Merovingian kings and as the bishop of Noyon bestowed the prince-electors in Wittenberg, most notably Frederick the Wise, with the ability to cleanse their treasury of all sin associated with indulgences. To explain the prominent place given to Eligius’s image in the collection, the article investigates his connection to French royalty, Holy Roman Emperor Charles IV’s valorization of his cult, the meaning attributed to his image in vernacular legends, and the evolving administrative role of bishops across the Middle Ages.
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Church, Christopher M. "Rhythms of Catastrophe, Iterations of Inequity: Disaster Memory, Dislocation, and Disparity during Pelée’s Eruption of 1929." Environmental History 25, no. 2 (February 27, 2020): 335–60. http://dx.doi.org/10.1093/envhis/emz094.
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Abstract Mount Pelée, the volcano on the French Caribbean island of Martinique, dramatically erupted in 1902, instantaneously killing thirty thousand people and obliterating the town of Saint-Pierre. With the deadliest eruption in the Western hemisphere, Pelée became the stuff of legends, making its way into postcards and literature the world over before falling silent for almost three decades. A generation later, the volcano erupted once more, this time spreading its effects over three years rather than a few fateful seconds. Historical memory played a pivotal role in the public, scientific, and governmental response to the eruption of 1929, as the rhythms of the environment ran up against human civilization. Greatly overshadowed in both the historiography and popular imagination by the eruption of 1902, the eruption of 1929 underscores the key role played by “disaster memory” in shaping the response to natural disasters. On the one hand, French officials drew on the lessons of the 1902 eruption in ways that helped to ensure the safety of Martinique’s colonial citizens. On the other hand, however, they replicated past approaches to disaster relief that further entrenched the economic disparities and sociopolitical inequities that characterized the colonial world.
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OULADIB, Hakima. "IDIOMATIC EXPRESSIONS: THE REPRESENTATION OF THE HUMAN BODY (TRANSITION FROM DIALECTAL ARABIC TO FRENCH)." RIMAK International Journal of Humanities and Social Sciences 05, no. 01 (January 1, 2023): 391–403. http://dx.doi.org/10.47832/2717-8293.21.24.
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Being an integral part of every language, idiomatic expressions are unique to the culture in which they originated, following the linguistic praxeme, forming part of the theory of the sign which postulates that the meaning does not rest solely on the signifier and the signified, but goes beyond these elements to the extralinguistic referent, by focusing on the different sociocultural phenomena of the community. Representing the voice of a body, many Moroccan proverbs are based on the human body, using different organs. The human body has always been a subject of controversy; sometimes it is sacred and is an object of praise, sometimes it is full of pejorative connotations (myths, legends, etc.). Indeed, it should be noted that these idioms turn out to be complicated, in terms of translation into another language because it is not easy to find a suitable equivalent in the target language; since the literal translation skews the original meaning. Thus, this work will be divided into two main parts: a first will be reserved for the analysis of the structures of different paraphrastic expressions, and a second will be dedicated to the translation of idiomatic expressions from colloquial Arabic to French, focusing on the theme of the human body in the two present parts
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Barysenka, Volha. "The Representation of Protestants in the Legends of Marian Images in the Territories of the (Former) Grand Duchy of Lithuania." Studia Historica Gedanensia 13 (2022): 135–48. http://dx.doi.org/10.4467/23916001hg.22.009.17429.
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The paper is devoted to the representation of Protestants in the stories (legends and miracles) about the miraculous images of Our Lady that come from the territories of the (former) Grand Duchy of Lithuania: involving those currently incorporated in Belarus, Lithuania, Poland and Ukraine. It considers first the representation of both the locals who converted to Protestantism from Orthodoxy or Catholicism in the 16th–17th century and the Lutheran Swedish invaders of the 17th–18th century by their contemporaries and later investigates into how the image of Protestants changed with the course of time up to nowadays and what had an impact on this. Interestingly, that since the 19th century military invaders from Sweden were described in interchangeable manner with the French soldiers of Napoleon Bonaparte’s troops. And now we are witnessing the genesis of a German Nazi soldiers presentation in the miracles attributed to Virgin Mary’s images/icons.
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Branger, Jean-Christophe. "A Reading of Massenet’s Esclarmonde by Chabrier: How Should French Composers Respond to Wagnerian Music Drama?" 19th-Century Music 42, no. 2 (2018): 96–122. http://dx.doi.org/10.1525/ncm.2018.42.2.96.
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At the time of the 1889 world premiere of Massenet’s Esclarmonde, Emmanuel Chabrier copiously annotated a copy of the piano-vocal score of this opera, which is considered, despite its unique features, one of the most Wagnerian works of the author. This remarkable and little-known document allows us once again to investigate the challenges of musical creation in a period when all dramatic composers were obliged to position themselves in relation to Wagner, particularly in France where lively debates were taking place between supporters and detractors of the master of Bayreuth. This new source also enriches our knowledge of two composers who, each in his own way, sought to respond to Wagnerian theater, all the while being inspired by it: from Wagner’s example both composers drew subjects based on legends, used reminiscence motifs or enriched their orchestral and harmonic palettes with Wagnerian techniques; but Massenet remained faithful to closed vocal forms, which Chabrier rejected in favor of more continuous composition. Chabrier, however, shows himself captivated by Esclarmonde, for Massenet’s score attests to the desire, very clear in both composers, to avoid blind submission to Wagner’s influence, especially to the point of losing one’s own identity.
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Lagutina, I. N. "Two Forest Kings? Literary sources of V. Zhukovsky’s translation of the ballad Erlkönig." Voprosy literatury, no. 4 (August 28, 2020): 217–38. http://dx.doi.org/10.31425/0042-8795-2020-4-217-238.
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The article contains a comparative analysis of early European interpretations of Goethe’s poem Erlkönig and hypothesizes that it was under their influence that Zhukovsky introduced significant innovations in his translation. Already in the first English translations by M. G. Lewis and W. Scott, translators dispense with the naturphilosophical implication of Goethe’s original and enhance its folkloric dimension; the plot is structured according to the pre-romantic and romantic folk legends of evil and many-voiced forest ‘kings.’ The early French versions embark on a new tradition of ‘translating’ the title into the native language, revealing the semiotics of the image and making it more recognizable by a foreign culture. Zhukovsky’s idea of the Forest King is shaped by his contemporary culture; he integrates the German original not only into Russian demonology as described by Russian lexicons of the early 19th c., but also into the set of translation practices already established at the time when he was writing his ballad.
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Henitiuk, Valerie. "Of breathing holes and contact zones." Target. International Journal of Translation Studies 29, no. 1 (June 1, 2017): 39–63. http://dx.doi.org/10.1075/target.29.1.02hen.
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Harpoon of the Hunter, originally written in Inuktitut syllabics and published serially in 1969/70, is frequently characterized as the “first Inuit novel” (McGrath 1984, 81; Chartier 2011). It was deemed the “breakthrough” (McNeill 1975, 117) eagerly awaited by those whose stated goal was to save Canada’s traditional northern culture and its stories, songs, poems and legends from being swept aside by the onslaught of southern modernity. Markoosie’s text helpfully allows discussion of (post)colonial contact zones constructed in and through translational acts such as self-translation, retranslation, and relay/indirect translation as these intersect with Indigenous literature. This article explores the complex trajectory, involving various stakeholders, of the translation, circulation and reception of this important contribution to not only Inuit literature, but Canadian literature as a whole. It examines some relevant features of the author’s own translation of his text into English (1970) and traces them through the two existing French translations by Claire Martin (Markoosie, tr. Martin 1971) and Catherine Ego (Markoosie, tr. Ego 2011).
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Kushchayev, Sergiy V., Evgenii Belykh, Yakiv Fishchenko, Aliaksei Salei, Oleg M. Teytelboym, Leonid Shabaturov, Mark Cruse, and Mark C. Preul. "Two bullets to the head and an early winter: fate permits Kutuzov to defeat Napoleon at Moscow." Neurosurgical Focus 39, no. 1 (July 2015): E3. http://dx.doi.org/10.3171/2015.3.focus1596.
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General Mikhail Kutuzov (circa 1745–1813) brilliantly repelled Napoleon’s invasion of Russia. Honored as a national hero and a savior of Russia, Kutuzov has a unique medical story. He was shot in the head twice while fighting the Turks (1774 and 1788) and survived the serious injuries seemingly against all odds. The first bullet “ran through the head from one temple to the other behind both eyes.” The second bullet entered the cheek, destroyed upper teeth, traveled through the head, and exited the occiput. Massot, a French surgeon with the Russian army, wrote after treating Kutuzov’s seemingly two mortal wounds: “It must be believed that fate appoints Kutuzov to something great, because he was still alive after two injuries, a death sentence by all the rules of medical science.” Aided by Massot’s expert surgical technique, Kutuzov lived to become intimately engaged in events that altered world history. His health did, however, suffer significant effects due to the bullet wounds. In 1812, as Napoleon’s Grande Armée approached, Kutuzov realized he could not confront Napoleon and he strategically retreated from Moscow, submitting the French to the harsh winter and Russian cavalry. Napoleon’s devastated army retreated to Paris, and Kutuzov became the personification of Russian spirit and character. Kutuzov’s survival of two nearly mortal head wounds created the legends, additional mystery, and drama surrounding him, not the least astonishing of which was the skilled neurosurgical care that probably saved his life.
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Pooley, William G. "Independent Women and Independent Body Parts: What the Tales and Legends of Nannette Lévesque can Contribute to French Rural Family History." Folklore 121, no. 2 (August 2010): 190–212. http://dx.doi.org/10.1080/0015587x.2010.481150.
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Chekalov, Kirill A. "“Don Luis had never been up in an aeroplane” (Maurice Marie Émile Leblanc before 1905)." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 110–16. http://dx.doi.org/10.34216/1998-0817-2021-27-1-110-116.
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Some of the works of Maurice Leblanc are considered in the article, who is one of the creators of the French classic detective, written between 1890 and 1905 (before the publication of the first novel about the adventures of "gentleman-cambrioleur" by Arsène Lupin). The influence of Henri René Albert Guy de Maupassant and Gustave Flaubert is combined with an appeal to Breton legends and erotic motives popular in the “Belle Époque”. The image of a bicycle, a car and the cult of speed associated with them, anticipating the plot dynamics of Lupinian in these works is analysed. On the example of Leblanc's short stories, published in a number of newspapers in the mid-1890s to early 1900s, the gradual maturation of criminal narrative in his work is shown. Among the problems raised in the article – Leblanc's reaction to the ideas of anarchism and the potential influence on the image of Arsène Lupin of the personality of the famous anarchist Marius Jacob as well as the influence of the work of Ernest William Hornung (the creator of the character of A. J. Raffles, the "Amateur Cracksman").
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Bulycheva, Anna V., and Elena A. Arutyunova. "The Creation of the Myth about the Failure of Georges Bizet’s Carmen. Following the Materials of the French Press of the Years 1875–1883." Contemporary Musicology, no. 3 (2023): 40–62. http://dx.doi.org/10.56620/2587-9731-2023-3-040-062.
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The stage fate of Georges Bizet’s last opera Carmen has become surrounded by legends for a long time. For a long period of time in musicology in Russia and in other countries it was considered that the composition was received rather coldly by the critics, whereas the world premiere, which took place on March 3, 1875 resulted in a failure. An analysis of the articles published in the periodicals of 1875 reveals the erroneousness of this fact: the reviews of the first production of Carmen were almost unanimously positive, and not a single harshly negative review was published. In order to understand the reason for the origin of the myth about the opera’s failure, it is worth examining the critical articles published from the moment of its first production up to the revival of Carmen at the Opéra-comique in 1883. The nineteenth century became a time of flourishing of the French press. In Paris alone there were over a hundred newspapers and illustrated magazines, around sixty of which responded to the premiere of Carmen. Among the authors of the reviews there were both significant musicologists, composers and literati, as well as journalists whose names have remained unknown. Virtually every critical article examines important questions of the libretto, the score, the performance and the formatting. It follows from the materials of the press that after the first production the main criticism was expressed in regard to the chosen plotline and the libretto, while the music received quite favorable estimation. After Bizet’s death in June 1875, the opera remained under the steadfast attention of the public, continued to receive exuberant reviews and was withdrawn from the repertoire of the Opéra-comique after two successful seasons due to the requirement of renewing the repertoire. In 1883 Carmen returned to the Paris scene as a masterpiece acknowledged throughout the world, and it was particularly at the moment of the opera’s revival the myth began to form of the failure of its premiere. This legend, created by the directorate of the Opéra-comique for the sake of attracting the audiences’ attention, was quickly disseminated and fixated itself into the consciousness of the public and the critics. Not least important was the role played in its popularization by the effect of substitution of reminiscences and the image formed around Bizet of a romantic artist and an unrecognized genius, which predominated in the 19th century.
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Savina, E. S. "Legal Vocabulary as Means of Revealing by Marcel Proust of the Cultural Codes of French Aristocracy, Bourgeoisie and Peasantry." NSU Vestnik. Series: Linguistics and Intercultural Communication 19, no. 3 (October 17, 2021): 98–109. http://dx.doi.org/10.25205/1818-7935-2021-19-3-98-109.
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This article is devoted to the stylistic and cognitive analysis of the legal vocabulary in the third volume of Marcel Proust’s novel “In Search of Lost Time” used in order to describe mental, psychological and cultural world of Guermantes in its contrast with the world of bourgeoisie and with that of French peasants. The legal terms we consider in the paper are used by Proust as core components of a number of stylistic figures, first of all, similes and metaphors. Following Gérard Cornu and some other scholars, we understand legal terminology (legal terms and legal vocabulary in general) as any word of language (in our case, those of French) having at least one legal meaning, acknowledged by an authoritative French dictionary. The legal terms identified in the text were classified into two groups: general legal vocabulary and specific legal vocabulary belonging to different branches of law: constitutional, criminal, international. In order to confirm their legal semantics while conducting contextual analysis, we have consulted all types of diction-aries: bilingual, monolingual, general and special ones. The main aim of the article was to determine the functions of these figures in Marcel Proust’s text whose poetics is not at all legal. To achieve it, the main task was to identify the connections between the denotative meaning of a given term and its connotative contextual transformations. This means first of all to decode contextual links between the legal figure under analysis and various domains of life it was applied to by Proust. Eventually, this analysis helps to reveal French cultural codes, those of declining aristocracy, empowered bourgeoisie and, in “Guermantes”, of peasantry. Thus, the Guermantes are associated in the eyes of the bourgeoisie, represented by Marcel, with something ancient, inaccessible to rational minds, charming: some sublime images, magical legends of ancient times, exquisite works of art and music, antique music instruments. In this context, a legal term, such as carte photographique d’identité for instance, introduces, by contrast, some materially-minded, pragmatic, prosaic notes. At the same time, democratic changes leading to the rise of the bourgeoisie, as well as the world of peasants are depicted in an extremely concrete way, being associated with the untamed force of nature: damage and devastation caused by the floods, noises, and the like. At the same time, various typical human feelings, such as Marcel’s admiration and Saint-Loup’s love due to the use of legal figures may be represented as imprisonment.
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Vidas, Marina. "Un Deu Enemi. Jews and Judaism in French and English Medieval Illuminated Manuscripts in the Royal Library." Fund og Forskning i Det Kongelige Biblioteks Samlinger 55 (March 3, 2016): 105. http://dx.doi.org/10.7146/fof.v55i0.118912.
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Marina Vidas: Un Deu Enemi. Jews and Judaism in French and English Medieval Illuminated Manuscripts in the Royal Library
The article analyzes images of and texts about Jews and Judaism in five medieval illuminated manuscripts in the collection of the Royal Library, Copenhagen. I begin by examining the references to Jews in a bestiary (MS GKS 3466 8º) composed in the twelfth century by Philippe de Thaon for Queen Adeliza of England and copied a century later in Paris. Then I analyze depictions of Jews in a French early thirteenth-century personal devotional manuscript (MS GKS 1606 4º) as well as in a number of related de luxe Psalters and Bibles in foreign collections. Textual references to Judaism and Jews are examined in a compilation of saints’ lives (MS Thott 517 4º) as well as depictions of individuals of this faith in an Hours (MS Thott 547 4º), both made in fourteenth-century England for members of the Bohun family. Lastly, I analyze images illustrating legends derived from the Babylonian Talmud in a Bible historiale (MS Thott 6 2º), executed for Charles V of France (r. 1364–1380).I argue that images depicting Jews in narrative cycles had a number of meanings, some of which can be interpreted as anti-Jewish. I suggest that the images also played a role in shaping the piety of their audiences as well as the intended viewers’ understanding of their social identity. Indeed, depictions of Jews in the manuscripts seem mostly unrelated to the actually existing Jews. Members of the Hebrew faith were often represented in contexts in which their appearance, beliefs, and activities were distorted to emphasize the holiness, goodness, and perfection of Christ and the Virgin Mary. It is also suggested that their representations may have spurred a reflection on, and sometimes even a criticism of, Christian behavior and attitudes.
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Przybos, Julia. "Polish Decadence: Leopold Staff's Igrzysko in the European Context." Nordlit 15, no. 2 (March 26, 2012): 79. http://dx.doi.org/10.7557/13.2045.
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Decadent authors writing about the past share a common artistic practice: revisionist creativity. I argue in my Zoom sur les décadents that this particular type of creativity uses as its main device recombination of legends, myths, and historical events. Historical, cultural or religious figures are reexamined and shown in a new unexpected light. I show in my book how Villiers de Isle-Adam conflates two crucial battles of the Ancient world: Marathon (490 BC) and Thermopiles (480 BC) in ashort story called "Impatience de la foule." The final result of Villiers's telescoping of separate historical events is a seamless narrative. In Hugues Rebell's "Une Saison à Baia," Saint Paul attempts to convert Roman patricians who mock his incoherent speeches. In "La Gloire de Judas," Bernard Lazare departs from the Gospels and tells the tragic story of Judas whose betrayal made the salvation of the human race possible. In Lazare's short story, Judas is a self-effacing figure who doesn't act on his own but on Jesus Christ's specific order, who sworns him into secrecy.Common in French decadent fiction, religious revisionism was largely tolerated in the secular Third Republic. Whereas censorship was quick to punish naturalist authors writing about debauched clergy in contemporary France (e.g. Louis Deprez and Henry Fèvre's Autour d'un clocher) decadent authors reinventing ancient religious stories and retelling the life of catholic saints enjoyed a relative freedom ofexpression.It is my hypothesis that taken out of its secular context, religious revisionism of the kind practiced by French decadents may be seen as shocking transgression in a fiercely catholic country like Poland. In the country that lost its independence in 1794 and was ever since seeking to regain it, Catholic Church was perceived as an essential ally in the struggle against main occupying powers: Orthodox Russia, and Protestant Prussia. In the course of the 19th century Catholicism and patriotism had been effectively fused in Polish national conscience. In this charged political context a Polish author revisiting Church dogma or tradition was at risk of being perceived not only as a religious outcast but also as a traitor to the cause of Polish independence.To test my hypothesis I propose to examine Igrzysko (Game), a forgotten play by Leopold Staff. Admired today chiefly as a poet, the young Staff wrote Igrzysko in Poland after a long sojourn in Paris where he had lived among the international crowd of fin de siècle writers and artists. The play was first produced in Lemberg in 1909 and after a few performances vanished forever from Polish theatrical repertoire.Leopold Staff's play is set in ancient Rome and depicts tribulations of an actor who, while impersonating a Christian awaiting crucifixion, converts to Christianity. In his play, Staff revives the legend of Saint Genesius, an actor in Arles who died a martyr's death in 286 under Diocletian. In Spain, Saint Genesius's legend inspired Lope de Vega who wrote Acting is Believing (Lo fingido verdadero, 1607). In France, it was the source for Jean Rotrou's Saint Genest (1646). All told, the legend of Genesius is a popular theme for artists who wish to explore the distinction between art and life. An important addition to this old tradition, Staff's play contains, however, a decadent and potentially scandalous twist. Unlike in Acting is Believing and Saint Genest, the protagonist's conversion is very short lived in Igrzysko. Fearing pain, Staff's character commits suicide and is, therefore, condemned for eternity. In my paper, I will discuss the significance of Staff's religious transgression in the context of the turn of the century arch-catholic and patriotic Poland.
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Harvey, Carol. "Dramatising the Romance: from La Manekine to La Fille du roy de Hongrie." Florilegium 19, no. 1 (January 2002): 109–26. http://dx.doi.org/10.3138/flor.19.006.
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In the fourteenth century, a new kind of religious drama gained popularity in France, the miracle play or miracle par personnages. The genre originated in the numerous legends of the Virgin Mary in both Latin and French, of which the most famous are those collected by the thirteenth-century monk Gautier de Coincy. The miracle play was intended for the edification of the people, and its overarching theme is the Blessed Virgin's intercession in favour of mortals who have gone astray or who are otherwise in distress. The earliest-recorded dramatisation of the non-scriptural miracles attributed to Mary is Rutebeuf's well-known Miracle de Théophile, in which the cleric Theophilus rashly sells his soul to the devil and does his bidding for seven years; then, repenting of his sins and transgressions he invokes the aid of Mary, who conquers the devil and restores Theophilus to the path of righteousness. However, the major source of our knowledge of miracle plays is the two-volume Cangé manuscript (Bibliothèque nationale de France MS fr. 819-820), a remarkable record of dramatic production comprising forty miracles composed and performed in Paris, over the lengthy period between 1339 and 1382, during the annual assembly of the Saint-Éloi Gold and Silversmiths' Guild.
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HU, Mengyin. "Religion in Social Classification and Social Orders: A Study of Catholicism in A Tibetan Village in Yunnan." International Journal of Sino-Western Studies 20 (July 14, 2021): 205–14. http://dx.doi.org/10.37819/ijsws.20.117.
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"This article attempts a new perspective upon Catholicism in a Chinese Tibetan village> Cizhong of Yunnan Province. The article reviews the discussion on social classification by Durham and Bourdicu>and argues that Catholicism? together with the other local religion——Tibetan Buddhism——functions as a social classification inside the village. Catholicism>as well as Buddhism>involves a whole set of rules for the practice of daily life>that arc followed by villagers in Cizhong. By this social classification? the village achieves harmony under a reasonable order. The article> based on months of fieldwork,argues two things： First, how Catholicism has become a “local“ religion; and second, how the social classification functions in village affairs. The former focuses on historical material and reveals that Catholicism has gradually transformed to a “native“ religion> in some sense>during the past century after it was brought there by French missionaries. ’I'his transformation can be seen in the change of missionaries^ image in local legends and villagers' narrative. The latter is based on current empirical material from fieldwork and demonstrates that villagers have created a new order out of the two sets of practices>one rooted in Catholicism and the other in Tibetan Buddhism, to manage social affairs and sustain balance or harmony in the village. Though the tension between the two religions still exists> a new order that shifts delicately between the two is practiced in most situations like funerals.
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Schine, Rachel. "A Mirror for the Modern Man: The Siyar Šaʿbiyya as Advice Literature in Tunisian Judeo-Arabic Editions." Arabica 65, no. 3 (May 7, 2018): 392–418. http://dx.doi.org/10.1163/15700585-12341495.
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AbstractHistorically, the siyar šaʿbiyya (sing. sīra) corpus—a collection of popular, orally-performed Arabic chivalric legends—have been cast as being outside of the ambit of adab (belles-lettres). Rather, scholars and critics both classical and modern have tended to regard them as tall tales and pseudo-histories. In closing his 1887 Judeo-Arabic edition of Sīrat Sayf b. Ḏī Yazan (Sīrat al-azaliyya), the Tunisian-Jewish litterateur Rabbi Eliezer (Lazarro) Farḥī provides a seven-point list detailing the practical benefits of reading a sīra. In doing so, he opens a different pathway for approaching the text, in the manner of a mirror-for-princes. Examining Farḥī’s framework in its historical context as well as with reference to scholarship on other popular works such as the 1001 Nights and on the nature of adab and wisdom literature, I offer a model for re-envisioning the sīras as principally didactic texts, rather than sources for entertainment. This I do in accordance with the terms of the sīras’ fin-de-siècle publisher, who casts them as a mirror for the modern Jewish man aspiring to keep apace with life in French colonial Tunis. I conclude not only that Farḥī’s approach to the sīra was likely widespread, but that his work testifies to sustained interest among Jewish audiences in the sīras into modern times, making this minority group’s use of these texts integral to the sīras’ diachronic reception history.
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Ford, Judy A. "Saracens and Turks in William Caxton’s The Golden Legend." Journal of Transcultural Medieval Studies 2, no. 2 (December 1, 2015): 221–43. http://dx.doi.org/10.1515/jtms-2015-0018.
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Abstract In the late fifteenth century, William Caxton translated into English and published a version of the best-known collection of saints’ lives in medieval Europe, the Legenda aurea. It was the longest and most expensive book he ever produced. Caxton used various sources, including Latin and French versions of the Legenda, to create a collection accessible to the book-buying public who were literate in the vernacular in late-fifteenth and early sixteenth-century England. The Golden Legend includes fifteen lives that incorporate Saracens or Turks into their narratives. It describes their interactions with Christians, both peaceful and violent, as well as their capacity for conversion. The depiction of Muslims in this popular sermon collection would have formed part of the cultural construction of Islamic people in England at the turn of the sixteenth century.
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Gereikhanova, Kamilla Fezameddinovna, and Oksana Vasilevna Afanaseva. "To the problem of intertextuality of “Fandorin corpus” by B. Akunin “Planet Water” and “Froth on the Daydream” by Boris Vian." Litera, no. 5 (May 2021): 25–32. http://dx.doi.org/10.25136/2409-8698.2021.5.35541.
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This article is dedicated to the questions of intertextual dialogue in modern Russian literature on the example of allusions to the novel “Froth on the Daydream” by Boris Vian in the novel “Planet Water” by B. Akunin. The object of this research is the game with audience used by B. Akunin, which allows broadening the context of perception of the novel through intertextual links. The subject of this research is the forms and ways of manifestation of intertextual dialogue of the two works – “Planet Water” and “Froth on the Daydream”, as well as their interaction through the literary works of antiquity and Japanese legends. The authors examine the references to B. Vian’s novel, describing their role in text of the narrative. The article employs comparative, contextual,l and hermeneutical analysis. The interaction of the corpus of texts about Fandorin with the works of Russian, English and Japanese literature is subject to detailed analysis. The texts of B. Akunin about Erast Fandorin abound with various references to the Russian and foreign literary works. The scientific novelty is define by the fact that this article is first to draw parallels with the French literature. The article determines and substabtiates intertextual links of “Planet Water” with “Froth on the Daydream”, which manifest through the key images and onomastic system of the novel. These links should attributed to hidden, encrypted intertext, cryptotext; in order to grasp such text, the reader must be familiar with the primary source. The presence of intertextual dialogue broadens the context of perception of the detective story and associate it with the genre of dystopia and parody.
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Mlakar, Anja. "»K nam so prišli Francozi in prinesli ‚drugačne čase‘«: Napoleonovi Francozi v slovenskih povedkah v kontekstu kolektivnega spomina in drugosti“The French Came and Brought ‘a Different Time’”: Napoleon’s French Forces in Slovene Legends in the Context of the Collective Memory and Otherness." Studia mythologica Slavica 20 (April 20, 2017): 205. http://dx.doi.org/10.3986/sms.v20i0.6666.
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Anderson, Taylor Elyse. "Translating the “French Legend”." Dress 46, no. 1 (June 18, 2019): 1–21. http://dx.doi.org/10.1080/03612112.2019.1603913.
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Demchenko, Volodymyr, Ilona Kostikova, Yuliia Вozhko, Kostiantyn Holoborodko, and Olena Malenko. "The concept “Information” as a factor in Bernard Werber’s style." Revista Amazonia Investiga 10, no. 40 (May 31, 2021): 265–74. http://dx.doi.org/10.34069/ai/2021.40.04.26.
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The article investigates the concept “information” and its elements in the general creative activity conception of the French writer Bernard Werber through the analysis of his original work “The Encyclopedia of Relative and Absolute Knowledge”, each short story represents a narrative, a recommendation, a principle, a formula from various fields of popular science. It is pointed out that the author presents some scientific data in a simplified way, other facts are given in a purely professional one, thereby Bernard Werber demonstrates his own competence in the fields of history, mathematics, biology, astronomy, etc., as well as journalistic skills. It is stated that such diverse correlations exist due to the writer's passion for science and history, personal life experience in these areas, and all this ultimately stimulates readers' thinking, which is the main goal of Werber's creative activity. The article explores the correlative plane, which combines data from many branches of science in a historical context, that generally forms an informative complex containing the issues about the history of tribes and peoples (Maya, Aztecs, Arabs, Chinese, etc.), their legends and beliefs (Atlanteans, the origin of a man, pyramids, etc.), wars (episodes of individual military stalemate), religions (conflicts between paganism and Christianity, the Inquisition, etc.), technology and architecture (erection and structure of historical monuments, temples), the natural world (features of physiology) people, ants, dinosaurs), games (particularly about chess combining psychological and historical components). “The Encyclopedia of Relative and Absolute Knowledge” also includes the facts about many historical figures who have made significant contributions to the study and formation of the general noosphere. It is concluded that the writer by providing an array of diverse information in “The Encyclopedia of Relative and Absolute Knowledge” gets the reader not only to be a recipient of ready knowledge, but also to set up new tasks that need to be solved, and the main one among them is life mission understanding.
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Youens, Susan. "Maskenfreiheit and Schumann's Napoleon-Ballad." Journal of Musicology 22, no. 1 (2005): 5–46. http://dx.doi.org/10.1525/jm.2005.22.1.5.
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One of the best known compositions from Robert Schumann's "song year" of 1840 is the ballad "Die beiden Grenadiere," op. 49, no. 1, to a poem by Heinrich Heine (1797-1856). Any work about Napoleon, in any genre, was inevitably politically charged, both at the time Heine wrote his poem (perhaps in 1821, after hearing the news of the former emperor's death on 5 May 1821) and the date of its most famous musical setting (at the beginning of the decade when Germany was edging towards revolutionary outbreak). What impelled this 21st-century investigation of the song was curiosity about its confusing initial gesture in the piano, a tonic six-four chord as an anacrusis, leading to unharmonized tonic pitches on the downbeat of measure 1. Speculation about Schumann's intention led to an investigation of both men's attitudes towards Napoleon, especially the aftermath of his downfall. That Heine venerated Napoleon (who emancipated the Jews) cannot be doubted, but Heine, given to paradox and contradiction, was no hagiographer. His poem is as much literary as it is political, with its borrowings from Des Knaben Wunderhorn and Herder's translation of the Scottish ballad "Edward." The First Empire, like all empires, is not merely historical fact but a confabulation of poetic legends. Heine's underlying concern, I would argue, was not Bonapartism per se but rising German nationalism of the sort he found ominous and that Schumann, to some as yet ill-defined degree, supported. But composer and poet both associated Napoleon with the ideals of the French Revolution in the days before it and the emperor succumbed to what is darkest in human nature. In my opinion, Schumann understood Heine's delineation of nationalistic fanaticism and found apt musical gestures for that understanding. Here, I trace the composer's lifelong sense of identification with Napoleon and the compositional decisions that tell of a political point of view in "Die beiden Grenadiere."
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Schulz, Vladimir L., and Tatiana M. Lyubimova. "Post-structuralism." Epistemology & Philosophy of Science 60, no. 2 (2023): 151–67. http://dx.doi.org/10.5840/eps202360230.
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The article draws a conceptual distinction the (French) structuralism of the 50’s–60’s and the post-structuralism of the 70’s, which are discussed as overlapping in their intellectual paths; their mutual dynamics is defined as a reaction of the intelligence to the pressure of depersonalized unified schemes within the logic of structuralism against free improvisation and loose interpretation instead of total explanations in the post-structuralism interpretation. The article establishes a conceptual identity of the paradoxical nature between post-structuralism (and deconstructionism, which is homogeneous and identical thereto in a number of aspects), on the one hand, and constructionism with its specific process of language dismantling – social/ideological languages, social group dialects, on the other hand, which naturally leads the authors to the analysis of the paradoxicality principles, defined by post-structuralism (five principles of paradoxicality of Gilles Deleuze – paradox of regress, paradox of sterile reiteration, paradox of neutrality, paradox of absurd, paradox of Levi-Strauss); poststructuralists’ paralogisms are examined through paradoxical denotation; the late Roland Barthes’ phenomenon of paradoxicality, becoming a plot-forming principle of narration, is analyzed. Poststructuralism is conceptualized in the article as the first decisive step of post-modernism; the affinity of post-structuralist and postmodernist commitment to parody, game and irony is stated; the theory of language games in post-modern interpretation is explored; one of those games – a game of carnival – is explored within the diachronic retrospective; the affinity of parody and carnival tradition of post-structuralism and post-modernism to the romantic irony of the XIXth century and its inconsistency with the popular culture of laugh is established. The genesis of poststructuralism and post-modernism is connected with the ideological restart of the Western society before the “very end” of the Resistance ideas and the disappointment of the left European intellectuals in the “great legends” and illusions of Marxism. The blurred concepts of relativism are connected with the mutual disproportion of different layers of historical experience.
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Kannykin, Stanislav Vladimirovich. ""Running bodies" under the lens of Michel Foucault." Философская мысль, no. 5 (May 2024): 44–64. http://dx.doi.org/10.25136/2409-8728.2024.5.69784.
Full textAbstract:
The article is devoted to the study of the formation of the "social body" of a runner athlete by means of anatomical and biopolitics, the concepts of which were developed by M. Foucault. The author solves such tasks as explication of the types and features of disciplinary practices used in the training of athletes specializing in running sports; analysis of the manifestations of resistance and transgression of runners; research of ethical self-transformation of athletes within the framework of Fucoldian "technologies of self"; identification of some urgent and emerging problems of running sports related to the relationship of power, control, body and knowledge. The paper also attempts to give applied importance to the Fucoldian interpretations of power relations in the interaction of "coach ‒ athlete" in order to problematize anatomical and political power and disciplinary practices used within its framework, which is important for the development of subjectivity and expanding the possibilities of realizing the potential of both an athlete and a coach. The research methodology is based on a conceptual analysis of M. Foucault's theoretical legacy and the reception of the French philosopher's ideas by Russian and Western scientists. The author identifies the main discourses that have the greatest impact on the training of athletes-runners (documents expressing state policy in the field of sports; texts of academic science; sports periodicals; popular science texts, as well as films, fiction, legends, etc.); analyzes the "disciplinary tools" of the sports training process (training plans exercises, specific organization of time and space, "hierarchical observation", "normalizing judgments", "recognition", "exam"); types of resistance and transgression of runners are revealed; the mechanism of work of athletes-runners on themselves within the framework of M. Foucault's "technologies of self" in order to improve their quality as an ethical subject is investigated; Fucoldian interpretations of some actual and potential problems of running sports are given, contributing to their deeper understanding (running addiction; strengthening control over runners using technical means; eugenics and neo-eugenics; cyborgization of athletes; doping as a component of anatomical and biopolitics; authoritarian coaching practices).
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Urbán, Máté. "Remeték, lovagok, szarvasok és oroszlánok." Belvedere Meridionale 32, no. 1 (2020): 43–61. http://dx.doi.org/10.14232/belv.2020.1.5.
Full textAbstract:
Medieval hagiography is full of animal motifs. Representations of animals in medieval literature is usually metaphoric. They could represent theological, moral or political notions. Animals frequently were the symbols of vices and virtues. On one hand researching the changes of the hagiographic topoi related to animals could shed light to the human-nature relationship, on the other hand it provides several pieces of information about medieval society, mentality, religious and folkloristic beliefs. Animal episodes are emphatic in the lives of the desert fathers and later in the Western eremitic movement. The animals appear as the companions of the lonely hermits, give food and help them in the fi elds, and they underline the self mortifi cation of the saint. The motive of the taming of wild animals expresses the holy man’s power over nature. The hermits transform the deserted wilderness into an earthly Paradise, where ferocious animals can live in peace. Hagiographical animal motifs were thoroughly researched by Anglo-Saxon, Italian and French medievalists, however in Hungarian medieval studies this topic is not on the highlight, due to the limited amount of the narrative sources. Present study researches the animal motifs in Hungarian hagiographical literature with special regard to the “the hermit and the hunter” topos – a denomination used by the British scholar, Brian Golding. Chiefl y I analyse the legends of Saint Gerhard, Saint Ladislaus, Saint Günther and Saint Andreas, the hermit of Zobor. The Life of Paul the hermit of Thebes by Jerome and the Dialoges of Sulpicius Severus also appear in the study, although they are not connected directly to Hungary, but the cults of Saint Paul the hermit and Saint Martin of Tours were widespread in the medieval Hungarian Kingdom. The Vitae Patrum, the History of the Pauline Order from the early 16th century by provost Gergely Gyöngyösi also appears in the study, because several hagiographic motifs occur in the work. The magic deer is a crucial motif in the texts, this can be also connected to the ancient pagan Hungarian folkloristic “myths”. ”However I research only the Western hagiographic parallels of this topos, and make little reference to the pagan origins. This topic has already been researched by several medievalists, art historians and ethnographers.
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Ogunleye, Foluke. "A Male-Centric Modification of History; Efunsetan Aniwura Revisited." History in Africa 31 (2004): 303–18. http://dx.doi.org/10.1017/s0361541300003508.
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Historical drama can be described as a form of drama which purports to reflect or represent historical proceedings. Since time immemorial writers have combined fiction and history in creative works. Lawrence Langner has ascribed the popularity of historical drama to the desire of the theatergoer to spend an evening in the company of kings, queens, and other historical personages; the opportunity to become familiar with far greater events than those which take place in the lives of ordinary people; and that historical plays recreate great deeds done by great personages in the past. Historical facts are then creatively adapted and made available in play form to the audience. Adaptation has been defined as “the rewriting of a work from its original form to fit it for another medium … The term implies an attempt to retain the characters, actions, and as much as possible of the language and tone of the original…” The history play is also defined as “any drama whose time setting is in some period earlier than that in which it was written. We can also go further to describe the history play as one “that reconstructs a personage, a series of events, a movement, or the spirit of a past age and pays the debt of serious scholarship to the facts of the age being recreated.Judging from the foregoing, Akinwunmi Isola's play, Efunsetan Aniwura falls into the category of historical drama, treating as it does the story of the eponymous heroine who was the second Iyalode (queen of women) of Ibadan and who died on 30 June 1874. Prominent themes in Yoruba historical plays include war, conflict, and class struggle. Olu Obafemi has declared that the dramatization of the history, myth, and legends of the Yoruba community forms the bulk of the themes of Yoruba drama. These factors are vividly portrayed in Akinwunmi Isola's plays. Akinwunmi Isola is one of the most prolific playwrights who use their mother tongue to write plays in Nigeria. He is a Professor of Yoruba language and he uses the Yoruba language in writing his plays despite the fact that he is proficient in English and French languages.
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Colas, Damien. "Questioning the frenchness of Le comte Ory." Studia Musicologica 52, no. 1-4 (March 1, 2011): 373–92. http://dx.doi.org/10.1556/smus.52.2011.1-4.27.
Full textAbstract:
To talk about the Frenchness of Le comte Ory might sounds like provocation. Being basically a rifacimento of his Viaggio a Reims, Rossini’s penultimate stage work belongs to the corpus of Italo-French operas. Yet there are three reasons for looking at Le comte Ory as an authentic French opera. Firstly, in the newly composed parts of the work, Rossini avoided the traditional features of the closed numbers typical of the Italian tradition by inserting recitatives inside the numbers and by merging closed numbers and subsequent recitatives, especially at the end of Act II. Secondly, the French lines written by Scribe to fit the already composed music follow poetic patterns from the Middle Ages, of which the prosodic features were closer to Italian than Classical French. Last, the very choice of the legend of Ory is typical of the troubadour style that had been fashionable in Paris since the last decades of the 18th century, and it turns out that this particular legend was extremely popular back then, as witnessed by the variety of local variants that were published in the 19th century.