Journal articles on the topic 'Simple folklorism'

Folkloristic musical works played an essential role in the creation of a ‘Slovak idiom’ in classical music of the post-war period. From the simple arrangement of folk songs to a more autonomous art music (which may have been only partly influenced by folk traditions) there existed a broad spectrum of musical practices, including also film music and music for the professional ‘folk music ensembles’ that appeared after 1948. By referring to specific examples from this large body of music, I will show how composers worked with harmonic and poetic elements that were particular to folk music: my discussion of examples from the breadth of this music — including music for the film Zem spieva ([The land sings], music by F. Škvor), the ‘model’ compositions for the ensemble SĽUK (A. Moyzes) and, finally, the subjective folklorism of the avantgarde in the 1960s and 1970s — shows how Slovak composers worked under changing ideological influences to bring about an ‘ennobling’ of folk music.

The study of the stylistic synthesis of Chinese oral and European written traditions is undoubtedly relevant. This is due to the active development of modern Chinese composers’ creativity in this direction. The object of the study is the stylistic development at the stage of the completion of the Cultural Revolution and the beginning of the period of reform and openness, traced through the example of two instrumental miniatures by Wang Jianzhong (1974) and Qigang Chen (1980). Based on the comparative typological methodology, the method of musicological analysis is characterised by the quotation nature of the first opus, close to the ethnographism of arrangements, and the non-quotation thematics of the second one, which grew out of the creatively free refraction of folklore elements. Separated by several years, the opuses, which have individual features of continuity, testify to the then emerging stylistic turn of Chinese instrumental creativity from quotation and generally relatively simple forms of folklore embodiment to non-quotation and more complex forms.

The historical narrative of nation building in East Central Europe has highlighted how national movements have linked the city and the village (see e.g. Hroch 2000: 156–161). The linear process of urbanization as a part of modernization has relied on a logic that interlocks rural and urban spaces in this region (Jemelka 2014, Brzostek 2014). Whilst on the one hand, both capitalist and state socialist modernization have brought an influx of rural migrants from the countryside to urban centers, this has, on the other hand, given rise to numerous artistic and social activities that have fostered an interest in rural space and culture (e.g. folklorism, (agro-)tourism, rural sentimentalism). It is only from this perspective that we see the emergence of tensions between popular culture rooted in traditional folk culture, cultural activities stimulated by new technologies, and the everyday life strategies of urban communities and subcultures. During the 20th century, different political regimes brought to the fore either rural or urban segments of the population, which in turn had a significant impact on popular culture. Taking this as a starting point, this thematic issue is focused on the question of an in-betweenness that could be dubbed “rurbanity”, comprising such phenomena that challenge the simple urban/rural split (Todorova 2009: 47–48, cf. Halstead 2008: 2–4).

This research article deals with to know about Brahui folklore. Generally, a simple definition has been adopted for Brahui folklore, those folklores has not identified. Simply unknown writer’s verses known as Brahui folk literature, but in this article it has been proved that many folklores have been written by poets or writers, which are known in literature. "Shatko" is the prominent example of known folklore and there are several folklores which has its writers. A research oriented approach could disclose many known folklores.

This study aimed to determine the many types of translation methods, how they were employed in the translation of the folklores "Deli Malay" and "Serdang Malay" from Indonesian to English, and why the translators used the prevailing types in these folklores. The descriptive qualitative method was used to perform this research. The data was gathered from a folklore book and an interview with the folklores' translator. Descriptive qualitative research is the method used to analyze the data. The findings of this study revealed that literal translation accounted for 39 sentences (16%), faithful translation accounted for 23 sentences (9%), semantic translation accounted for four sentences (2%), adaptation translation accounted for seven sentences (3%), free translation accounted for 158 sentences (64%) and communicative translation accounted for 16 sentences (6%). A total of 247 sentences were extracted from the data. Because he did not follow any theories or methods of translation when translating the texts, the translator utilized free translation as the dominating method. Instead, he evaluated the translations' target audience, youngsters, and made them acceptable and simple to understand.

Between a Folkloric Topos and a Cultural Myth. A Few Glosses on the Ballad “Master Manole” The folkloric topos of the walled-up woman, present in several variants in South-Eastern Europe, has a special status in the Romanian culture. The “Legend of Master Manole” from which it originates, along with “Miorița”, has become a canonical literary text. Considered by G. Călinescu as a “cultural myth”, one of the four essential Romanian myths, in the interwar and communist period, it was intensively exploited ideologically and politically. Interpreted by writers, either as a sample of Romanian creative genius, or as an example of dedication to the work of building the new world, the topos has long overgrown its initial condition as a simple motif of popular culture.

В статье предлагаются результаты лингвистического анализа осложненных предложений, специфичных для героического эпоса карачаевцев и балкарцев. Цель статьи – выявление и описание функционально-семантических и структурных особенностей конструкций с однородными членами предложения, наличествующих в текстах карачаево-балкарского нартского эпоса. Актуальность исследования детерминируется тем, что исследование синтаксических характеристик эпических текстов сопряжено с природой собственно языка устного народного творчества, которому традиционно отводится особая роль в становлении национального языка, вследствие чего изучение его языка представляется релевантной для лингвистической науки, фольклористики и лингвопоэтики. Новизна проведенного исследования заключается в том, что в нем впервые описаны значимые для текстов героических сказаний синтаксические конструкции с однородными подлежащими, сказуемыми, дополнениями, обстоятельствами и определениями. Для анализа путем сплошной выборки отобраны синтаксические конструкции с однородными конституентами, собранные из опубликованных текстов карачаево-балкарского героического эпоса «Нарты». В ходе исследования проводится структурно-семантический и функциональный анализ наиболее типичных для героического эпоса синтаксических единиц, содержащих в своем составе различного рода однородные члены предложения. Установлено, что в прозаических и поэтических текстах нартского эпоса встречаются практически все разновидности однородных членов предложения, как главные, так и второстепенные, которые употребительны не только в составе осложненных, но и в разных частях сложных конструкций, отличаясь при этом в лексическом и грамматическом отношении. Показано, что такого рода компоненты синтаксических построений репрезентируются словами и их формами различного частеречного происхождения, дескрипциями, представляющими собой как простые сочетания слов, так и обороты, ядерными конституентами которых являются неличные формы глагола. Представленное исследование имеет перспективу для дальнейшего изучения эпических конструкций в плане установления путей развития и становления осложненных, а также сложных синтаксических структур карачаево-балкарского и других родственных языков, выявления их роли в языковой экспликации национальной картины мира. The article proposes the results of linguistic analysis of complicated sentences specific to the heroic epic of Karachays and Balkars. The purpose of the article is to identify and describe the functional-semantic and structural features of structures with homogeneous members, sentences, which are in the texts of the Karachay-Balkar Nart epic. The relevance of the study is determined by the fact that the study of the syntactic characteristics of epic texts is associated with the nature of the very language of oral folk art, which traditionally plays a special role in the formation of the national language, as a result of which the study of its language seems to be relevant for linguistic science, folklorism and linguisticopro. The novelty of the study lies in the fact that it first describes the syntactic constructions that are significant for the texts of heroic legends with homogeneous, predicates, additions, circumstances and definitions. For analysis, by continuous sample, syntactic constructions with homogeneous constitutions are selected from the published texts of the Karachay-Balkar heroic epic Narts. In the course of the study, a structural-semantic and functional analysis of the most typical syntactic units for the heroic epic containing various kinds of homogeneous members of the sentence is carried out. It was established that in the prose and poetic texts of the Nart epic there are almost all varieties of homogeneous members of the sentence, both main and secondary, which are used not only in complicated, but also in different parts of complex constructions, while distinguishing in a lexical and grammatically. It is shown that such components of syntactic constructions are represented by the words and their forms of various frequency origin, by descriptions, which are both simple combinations of words and turnover, whose nuclear constituents are non-personal forms of the verb. The presented study has a prospect for further studying epic constructions in terms of establishing ways of development and formation of complicated, as well as complex syntactic structures of Karachay-Balkaria and other related languages, identifying their role in the language explication of the national picture of the world.

Every town and village throughout Flanders is commemorating the gruesome events of 1914–1918 with a range of activities. Some of these propose intelligent and thoroughly researched perspectives on WWI, while others are just simple tourist entertainments. Flemish theatre artists enthusiastically contribute to this frenzy, although some choose to deconstruct the folkloric myths to comment on the economics of the commemoration industry or on present-day atrocities.

Folk tales are part and parcel of human life because they have been told and retold in every human society from the time immemorium. Though its not clear when and how they have been an intrinsic part of human life. This is a treasure and specially the treasure of language which have been bestowed by our ancestors. Since the folk tales are part of the folk literature, they have drawn the attention of the folklorists. Folklorists have studied, analyzed, interpreted and researched on the different genres of folk literature and the folk tale is one of them. They are simple narrative. They are simple, short and having unique structure which enthrall listeners and also encourage the tellers to tell them again and again nevertheless even at our age of science and technology. Nepali society is multi-ethnic, multi-cultural and diverse in nature. They have their folktales to entertain and heal the psychological burden too. The present research tries to analyze the folktales of Kathmandu/Nepal from the structural approach. The present research claims that the structures of folktales are the main cause of bringing effects on both tellers and the listeners. This research will take help of the idea/theory developed by Vladimir Propp whose Morphology of Folktale will be the methodology to analyze the structure of the folktale.

According to fundamental scientific principles, simple forms develop into complex ones, with the rare exception of regression. In metaphysics, however, evolution and involution are seen as being in unity, with complex forms developing into simple ones. At any rate (as far as we can see into the past), we might presume basic elementary, primary, simple, artistic, and linguistic typological forms that can be linked with basic cognitive forms. According to art theory, in the beginning there was ancient syncretism, which was dominated by undivided liquid ancient forms. Psychoanalysts and myth researchers speak of ancient language, ancient picture language. Folklorists list blessings, curses, and oaths, as well as work songs, among the primary genres. I present three basic genres as an example: cradle songs, dance words and laments. Their common characteristics are sung lyrics and speech-like melodies (parlando). Further instinctive behaviours that receive little attention include: outbursts, impulsive shouting, cursing, mumbling, sighing, pleading, and prayer, as well as sexual intercourse, giving birth, euphoric speech (under the influence of alcohol or narcotics), aphasia, and speech degraded by old age. Instinctiveness is clearly reflected by rhythmic counting or scribbling.

“Magic realism” is a recent literary technique that contains a latent amalgamation of fantastic or mythical elements into an otherwise realistically narrated fiction. The theme and subject of such a literary work are often imaginary, somewhat outlandish and fantastic and always reflect into a dream-like reverie. It further marks the miscellaneous use of myths, legends and fairy tales, and an expressionistic description of an arcane situation leading to the element of surprise or abrupt shock. In literary discourses, the term is primarily associated with the post-modern novel of the Americas. Girish Karnad’s dramatic monologue, Flowers, however, bears all the elements of this literary phenomenon. This short play could also be labeled as a dramatized novel and is a simple tale of a priest caught in an agonized conflict between his devotion to God and his love for a courtesan. However, Karnad’s creative genius turns this conflict into a scintillating portrayal of the sexual urge of a priest interspersed with his feelings of religious devotion and familial duties through the technique of magic realism and, in the process, questions god’s authority in the postmodern world. The play is an attempt by Karnad for the first time in his playwriting career “to focus on male than a female desire.” It presents an interesting picture of the bizarre human world full of magic and its realistic social impressions. The present article attempts to shed some light on this aspect of Karnad through the thematic exploration of the flowers.

<p>‘Sociocultural system’, one of the conceptual keywords which for understand the social and cultural structure in anthropology and sociology, contains three main components (material, social, expressive) if one changing occurs in its any components provokes to change in others. Music, as an expressive element of the sociocultural system, gets its share from any changing occurred in the system, even it contributes the changing. Because music is not only an expressive element, but also tightly associated with the ‘material’ and ‘social’ components of the sociocultural system. Therefore, traces of musical factors that change the system during modernization process, occure in the musical practices described with the concepts as ‘traditional’, ‘folkloric’, ‘authentic’ etc. Culture and people or communities who produce it, in order to remain their existence with the changing process, set up their strategies, reformatting older means for cultural expression besides produce new ones. This reformatting is result with ‘cultural transformation’. At the end of the modernity process starting with the technological evolution and changing in sociocultural values, on the one hand the simple structures of the traditional societies are transformed into the complex structures of the modern societies; on the other hand these simple structures are redefine combining with modern ones and acquire a new continuity in the modernity.</p><p> </p><p><strong>Özet</strong></p><p>Antropoloji ve sosyolojide toplumsal yapıyı anlamak için kullanılan anahtar kavramlardan biri olan ‘Sosyo-kültürel dizge’, herhangi bir değişimin diğerlerinde de değişime neden olduğu üç ana bileşenden (maddi, toplumsal, ifadesel) oluşur. Sosyokültürel dizgenin ifadesel bir öğesi olarak müzik de sözkonusu dizgede ortaya çıkan herhangi bir değişimden payını alır, hatta kimi zaman değişime katkıda bulunur. Çünkü müzik yalnızca bir ‘ifade’ olmayıp, sosyokültürel dizgenin ‘maddi’ ve ‘toplumsal’ bileşenleri ile de sıkı sıkıya ilişkilidir. Bu nedenle, modernleşme sürecinde dizgeyi değiştiren müziksel etkenlerin izleri ‘geleneksel’, ‘folklorik’, ‘otantik’ vb. kavramlarla tanımlanan müzik pratiklerinde de ortaya çıkar. Kültür ve onu üreten insan veya insan toplulukları ise değişim süreci ile birlikte varlıklarını sürdürebilmek için stratejilerini yeni kültürel ifade araçları üretmenin yanısıra eski olanı yeniden biçimlendirmek üzerine de kurarlar. Bu yeniden biçimlendirme ise çoğu zaman ‘kültürel dönüşüm’ ile sonuçlanır. Teknolojik ilerleme ve sosyokültürel değerlerdeki değişimlerle başlayan modernleşme süreci sonucunda, bir taraftan geleneksel toplumların basit yapıları modern toplumların karmaşık yapılarına dönüşürken öte yandan moderniteye ilişkin olanlarla yeniden tanımlandığı ve modernite içinde yeni bir süreklilik kazandığı görülür.</p>

"The stories of the little ones were the starting point of some operasʼ creation. In the Romanian musical context the first operas for children appear in the first half of the 20th century. The composers opt for the connection with the folkloric treasure, connection made both at the level of literary language, and the musical one. The horizons, the accomplishments, and the conceptual maturations are the three creative stages in the evolution of this musical subgenre. The colorful world of the children calls for choral moments that fill the stage with characters, the choral landscape bringing in timbral diversity. As well as the solo part, the choral moments are meant for adult voices (mixed choir, men choir, and female choir) or for children choir (choir on equal voices, with 2, 3, or 4 voices). The simple forms of the folkloric music are present, couplet-refrain alternation led to a certain tendency to miniature. The popular melos is widely used, rhythmical figures are complex, and the effects of the orchestral timbre stimulate the optimistic character, the sweet lyricism, exuberance and cheerfulness."

An 1894 biography of St. Francis of Assisi was a milestone in the lives of two young urban missionaries. They were “Sisters of the People” at the dynamic and progressive Wesleyan Methodist West London Mission in Soho, a poor and overcrowded central London district. Sister Mary Neal and Sister Emmeline Pethick would eventually distinguish themselves nationally, Emmeline as a militant suffragist in tandem with her husband Frederick Pethick-Lawrence, and later as a feminist and peace activist; Mary as a music educator and folklorist. French protestant clergyman Paul Sabatier's scholarly but lyrical biography of Francis enthralled the mission's leaders, including the superintendent, Hugh Price Hughes. Francis's rejection of his family's wealth, his insistence on absolute poverty for himself and his followers, and his devotion to the poor presented a compelling model of Christian service, one that the two young Sisters found especially exciting. They resigned the Sisterhood in 1895 to live cheaply in workers' housing just north of their old turf. This decision launched them into a national community of Franciscan-inspired settlers, philanthropists, “simple livers,” and collective farmers—offering us a new perspective on fin de siècle social activism.

Résumé Cette étude tend à montrer que durant les années 1930 la Canada Steamship Lines (CSL) a créé et disséminé une image du Québec comme société simple, prémoderne et rurale, dans le but d’accroître la clientèle de ses navires de croisière et de ses hôtels. On y examine les documents publicitaires de la compagnie et l’on montre qu’elle faisait aussi appel à d’autres individus pour construire cette image. L’anthropologue et folkloriste Marius Barbeau a écrit un ouvrage pour le compte de la CSL et celle-ci s’est associée au gouvernement du Québec pour promouvoir le renouveau artisanal. Ces divers acteurs partageaient la croyance antimoderne dans l’existence d’un Québécois vrai, authentique et qui constituait le coeur même de la nation : l’« Habitant ».

Wounds account for severe morbidity, socioeconomic distress, and mortality around the globe. For several years, various herbal products are used to expedite and augment the innate wound healing process. In Ethiopian folkloric medicine, Verbascum sinaiticum L. (V. sinaiticum) is commonly applied as a wound-healing agent. The present study investigated the potential wound healing and antioxidant properties of hydroalcoholic leaf extract of V. sinaiticum. The 80% methanol extract, formulated as 5% (w/w) and 10% (w/w) ointments, was evaluated in excision and incision wound models using nitrofurazone and simple ointment as positive and negative controls, respectively. Parameters such as wound contraction, period of epithelialization, and tensile strength were determined. Moreover, its in vitro antioxidant property was evaluated using a DPPH assay. In the excision model, both doses (5% and 10% w/w) of the extract showed a significant ( p < 0.001 ) wound healing efficacy compared to the negative control as evidenced by enhanced wound contraction rate and shorter epithelialization time records. In the incision model, the lower dose (5% w/w) ointment formulation of the extract exhibited the maximum increment in tensile strength (85.6%) that was significant ( p < 0.001 ) compared to negative and untreated controls. Animals treated with 5% w/w ointment, furthermore, showed a significantly ( p < 0.05 ) higher percentage of tensile strength than nitrofurazone treated ones. Moreover, the hydroalcoholic extract of the plant showed a noticeable free radical scavenging property. The result of the present study upholds the folkloric use of V. sinaiticum in the treatment of wounds.

The article uses the case study method to examine the peculiarities of narrativization of everyday female experience of “folkloric personality” in history, which includes the pre‑war (“under the Polish Pans”) and post‑‑war (“under Soviet power”) periods. Particular attention is paid to comprehending the survival strategy of “simple rural toilers” in extreme periods of history presented explicitly and implicitly in the text. The text, which is immersed in cultural, social, temporal and spatial contexts, indicates the verbal means of representation of evaluative meanings. The relevance of this research is conditioned by the necessity to reveal on the specific field material of Belarus, the scientific issues of memory and trauma, narrativization of everyday experience of a person in history (including the subjective experience of “pre‑Soviet and Soviet life”), comprehension of “national memory” as a problem of self‑‑identification in the mass post‑‑Soviet consciousness, as well as various aspects of gender history (including the consideration of survival strategies of women of different social status in extreme conditions). The main objective of this article is to identify the peculiarities of narrativization of ideas about “big” and “small” history, in which the life of a woman – an outstanding “folkloric personality” – is inscribed. The author transcribed and edited a recording (2023) of a conversation with a local resident of the Zhabinka district, and the resulting “oral history” material was interpreted using elements of narrative analysis, gender studies, and the case study method. It is shown that the ideas and images of oral historical (and at the same time biographical, moral, religious, psychological) narrative are formed under the influence of various mytho‑‑folklore, symbolic and epistemological factors.

Abstract In the late 1950s, a team of French-Canadian filmmakers at the National Film Board of Canada (NFB) began working in the new techniques of cinema verité (direct cinema). They focused their cameras on moments of everyday life, capturing folkloric elements of Québécois culture as well as sporting moments. One figure who appears in a number of productions is Maurice “The Rocket” Richard, star forward with the National Hockey League’s Montreal Canadiens and an iconic figure in French-Canadian society at a time when nationalist sentiments were bubbling to the surface. This paper examines two feature-length documentary films—Un jeu si simple (1964) and Peut-être Maurice Richard (1971)—as well as two short animated films—Mon numéro 9 en or (1972) and The Sweater (1980)—to consider The Rocket mediated through filmic images. It is about the myth as much as the man, seen through the filmmaker’s lens.

Structure shift is one of the problems in translations. This problem is important to be dealt with because it is the most frequent category occurring at all rank in translation. Besides, in grammar structure shift can occur at all ranks. The discussion about structure shift only covers structure shift in phrase, clause, and sentence level. This research used the translation theory proposed by J.C. Catford (1965). He states that shift is departure from formal correspondence in the process of going form the SL to the TL. He also states that there are two kinds of shift in translating, namely level-shift and category-shift. Category shift means the change of formal structure of the SL, in process of translating into the TL. The data source is taken from four bilingual folklores. Data collecting used observation method and descriptive method was employed in analyzing the data. The findings show that in phrase level structure shift found only in noun and adjective phrase. The shifts in noun phrase are: H PostM PostM into PreM PreM H, H PostM into PreM H, and PreM H PostM Post M, into PreM PreM PreM H. In adjective phrase structure shift is found only one i.e. PreM H into H PostM. The structure shift in clause level is: SC into SVC, SV into SVA, and SV into SVO. In sentence level structure shift occur from simple sentence in SL into simple sentence in TL, simple sentence in SL into complex sentence in TL, complex sentence in SL into simple sentence in TL, and complec sentence in SL into complex sentence in TL.

The ornamentalism that starts with the history of mankind was born from the passion of mankind to embellish the material used and to shape it with an understanding of art. Handicrafts are income-generating, production-oriented activities based on the individual’s knowledge and skill, often using natural raw materials, made by hand and simple tools, reflecting the pleasure and skill of the person carrying the cultures, traditions folkloric characteristics of the community. Handicrafts are the most important items showing the level of culture and civilisation of the society or nation in which they have emerged. Thus, handicrafts indicate the economic level, beliefs, customs and customs of that society, the climate and technological level of the geographical area in which they live. Increasing world population and technological developments have affected production methods and tools. In developed countries, it is very important to cultivate the human power that can produceand use the technology.Keywords: First keyword, second keyword, third keyword, forth keyword;

Background: In recent years there has been growing interest in therapeutic use of natural products, especially those derived from plants. P. granatum is very common dietary ingredient in many parts of India and has remarkable biological and medicinal properties.Methods: In the present study, the methanolic extract of fruit peels of Punica granatum Linn. (MEPG) were investigated for anti-inflammatory activity by simple, reliable, less toxic and less time consuming HRBC membrane stabilization method. The presentation of hypo tonicity induced HRBC membrane lysis was taken a measure of anti-inflammatory activity. Their activities were compared with standard drug diclofenac.Results: The results of the study demonstrated that P. granatum contains active constituents, which possess anti-inflammatory activity which is probably related to the inhibition of prostaglandin synthesis.Conclusions: It is concluded that methanolic extract of P. granatum fruit peel possesses significant anti-inflammatory activity and this is a possible rationale for its folkloric use as an anti-inflammatory agent.

Door guardian painting is one of the greatest treasures of Chinese art, bearing the weight of the simple feelings and the life awareness of Chinese people. As a specific cultural symbol, door guardian paintings symbolize a kind of popular folkloric culture which has experienced changes under the influence of a changing society. Through door guardian paintings, people’s attitudes and understandings can be observed in their unremitting dreams of a better life. This article begins with the door guardian painting’s tardy development, then discusses its functions and implications in Chinese society. Based on empirical research, this article explores the deep emotional experience expressed in daily life. The uniqueness of the article is that the authors take the function and implication of door guardian paintings as the entry point to explore the development of the rational cognition and mental change of the public in China, and by this to explore the change in people’s daily life so as to inherit and carry forward Chinese culture in the new era.

The life-work of novelist/essayist/folklorist Zora Neale Hurston has been recently and lovingly salvaged from the black hole of literary oblivion. This reclamation occurs during a time of increasing attention paid to marginalia within various discourses of theory. This theoretical and historical coincidence has inspired me to question the continued relegation of Hurston’s life-work to the realm of “the literary” and the virtual absence of any serious exploration of its anthropological significance. In this study, therefore, I turn to Hurston as a writer of culture. I argue that Hurston’s work exemplifies the increasingly complex contemporary “field” in which anthropologists write culture, and thus animates the contemporary rethinking underway regarding the process, product and status of ethnographic writing. Her writing of culture weaves intriguingly back and forth over the boundaries of fiction and non-fiction, white culture and black culture, wealthy urban class and poor rural class, and, perhaps most interestingly, ‘subject’–anthropologist and ‘object’-culture. In tracing the sense in which Hurstons’s work continuously problematizes such simple we-they oppositions and the search for a singular voice, I argue that the theoretical insights of deconstruction take us a long way in understanding the politics of representation at work in Hurston’s heterogeneous texts, and help us to rethink their status as ‘representational’.

ntroduction. The tent (σκηνή, τέντα) was a simple and everyday object of Byzantine life. Diplomats, merchants, pilgrims, soldiers, travelers, and simply wanderers spent a considerable part of their lives in a tent. It was a natural element of the Byzantine landscape, and geographical mobility was an important part of the lifestyle of the Byzantine elite and its psychology. But this simple, everyday thing in a certain context took on an extremely important meaning and turned into an important religious and social symbol. A simple object could indicate complicated social and ideological constructions of the 10th–12th centuries. The task of the study is to reveal the implicit power context which in certain cases endowed simple everyday objects (like a tent) with an extremely important meaning. Methods. The article is written in the general context of structuralist methodologies. We regarded the tent as a simple sign indicating the complex representations that lie behind its content. Structuralist methods allow for a correct reconstruction of Byzantine everyday representations in different strata of society. Analysis and Results. The rich tent in Byzantine society of the 10th–12th centuries was not just a part of the daily military life of the aristocracy, but also an important element of power relations. Tents defined the social status of their owners, emphasized their power and importance. Aristocratic tents of that time were a space where power decisions were made and court life took place. The tent as a power symbol relied on a broad religious context. The Tabernacle of Moses, which was the model for every tent in the Byzantine Empire, was also created by the Lord’s will, with Moses himself acting as “royal scribe”. The folkloric tent of Charos in the Acritic songs turns out to be the center of the “lower” world in which Charos ruthlessly reigns. Behind each reading of the symbolic meaning of the tent lie different social practices of different groups of Byzantine society, but they are all filled with their own understanding of the essence of power.

The figurative painting from the years 1980-1985 outlines the first page in the evolution of the general stage of “new figurativism” in Moldovan plastic art. The period inscribes a new sub-stage with a unique character, manifested by the inclusion of neo-expressionist landmarks in figurative painting. These are associated with the trends of the sociocultural and artistic environment of the time interested in modern evolution associated with neighboring countries. The artists create a series of new plastic implementations that pursue the experimental involvement of plastic meanings. The plastic form uses varied approaches, from forms, image and design with architectural structuring to factorial experiences with color paste, which depict symbolic suggestions related to contemporary life and culture. At the same time, the semantic message focuses on the expression of major moral-spiritual values, related to the national artistic, folkloric and literary heritage, in which the values of human life are exposed. The private life of the simple man, with his experiences and meditations on the reality of life opting for a philosophical exposition, also falls into this context. Through this evolutionary sub-stage, Moldovan figurative painting manages to place itself on a modern branch of painting, fitting into the modern course of international painting.

The devil claiming a human soul is no more an unusual theme in today’s literary world. And yet, when Conor McPherson made his national theater debut in 2006 with The Seafarer, he caused a stir, and the next year he took the Broadways in a similar fashion. During the same time, Clare Wallace noticed that McPherson’s on-stage feat made him popular with the audience and the “scholarly response has been a good deal more sluggish,” even when he employs the quintessentially Irish storytelling tradition, infusing it with modern theater’s “disruption of illusionism” (1). Now a more critically acclaimed playwright, McPherson calls his work “a fable about a struggle for redemption.” What makes Conor McPherson’s Seafarer an impressive feat is the epic or folkloric touch it provides to an otherwise ordinary modern day tale of crazy drunkenness and bawdy activities of some coastal town Irishmen. This paper attempts to read McPherson’s play in the light of the Old English poem The Seafarer translated by Richard Hamer (used by McPherson). It is an exploration of the playwright’s use of the Faustian and Christian elements and fusing them with the age-old Irish spirit of adventure to emphasize and extend a simple story of two brothers, Irish drunkenness, and Christmas magic into a complex tale of philosophical and psychological drama in the modern world.

Through the paths of the fantastic, this article aims to analyze the short story "M&atilde;e Natureza", by Nat&eacute;rcia Campos de Saboya, in <em>Iluminuras</em> (1988). Circumscribed in a literary niche in the northeast of Brazil, the writer from Cear&aacute; is subject to a context of erasure and oblivion on the horizon of contemporary criticism, even though she stands out in prose, especially in fantastic literature, with narratives full of unusual manifestations that provoke a transgression of reality. Based on theoretical conditions that confirm the aesthetic effectiveness of the fantastic in her short stories, it was possible to investigate how this analytical category is represented in the author's fiction, which is intrinsically linked to cultural traditions, popular knowledge, the legends and myths of the Northeast and the stories borne out of the value of orality and generational transmission. In the story under investigation, the daily working life of the characters, the grandfather and the boy, is transformed by the telling of stories from the forest, which conjure up folkloric and legendary mysteries typical of nature and the world of superstition. With the patterns of day-to-day life and the human types that come from simple customs, there is a fictional journey that leads to magic based on a habitual world governed by the belief in secret beings and events.

Although Jonathan Zimmerman's The Amateur Hour: A History of College Teaching in America and Scott M. Gelber's Grading the College: A History of Evaluating Teaching and Learning cover much of the same historical terrain, the focus of each book proves quite distinct and yet highly complementary. Zimmerman best articulates the stark paradox at the center of both studies. As the United States developed the most elaborate system of higher education and the scholarly endeavors of faculty members evolved into a “highly professionalized enterprise, marked by elaborate codes of credentialing and practice” (p. 10), college teaching in contrast remained a game of chance, conducted by “amateurs, working according to folkloric traditions rather than codified ones” (p. 226). Zimmerman's work attempts a simple and yet daunting task: to supply a history of college teaching in America. Zimmerman excels in discussing the stories of great lecturers and efforts for reform, but often leaves more questions than answers when it comes to the myriad attempts (usually dismissed by faculty) to systematically assess college teaching, exactly where Gelber's work fills in the gaps. As Gelber notes in his conclusion, the evaluation of collegiate teaching and learning “ranks among the greatest unsolved problems of academia—a basic scholarly dilemma” (p. 156). Taken together, these two books may help academicians begin to work toward solutions, simply by finally offering accessible historical overviews of their related areas, though Gelber seems the more optimistic of the two with regard to the possibility (or necessity) of positive change.

Purpose – The purpose of this study was to explore child educational content digital folklore on YouTube, and It is used to teach young children about science, language, and values. The unit analysis on this research was the video of Pak Lebai Malang from West Sumatera, Indonesia.Design/methods/approach – The qualitative content analysis method was used in this study. The content analyzed was digital folklore based on the Minangkabau story Pak Lebai Malang. The process began with downloading the video, creating a transcript, taking notes on the text, language, and context, re-watching the video, comparing and contrasting it to the memo, and eliciting evidence from the video.Findings – The data revealed the following ways in which digital folklore on YouTube teaches science, language, and values: 1) digital technology illustrates science concepts with simple-to-understand videos; 2) by repeating the words and visualizing each spoken word, YouTube videos teach children new vocabulary. 3) the characters’ expressions and intonation in the video teach children about social values.Research implications/limitations – This research could serve as a springboard for future research on the use of digital folklores in early childhood classrooms. It is advised that additional research be conducted to improve the interest, effectiveness, and applicability of digital folklore in the early childhood learning process and design more effective programs for teaching science, language, and value to young people children. The study’s drawback is that it analyzes only one video. If it is compared to other videos, it may provide a complete view. Practical implications – This study informs educators on the potential for using digital folklore to teach science, language, and values. It entails the implementation of more creative strategies in early childhood education. Additionally, the study inspires innovative content creators on YouTube to make their videos more relevant to young children’s learning. Additionally, parents may discover that something as simple as a YouTube video could be an incredible resource for their child’s development.Originality/value – The study explains child educational content based on local wisdom. The digital form of Pak Lebai Malang folklore can facilitate accessibility and acceptability.&#x0D; Paper type Research paper

En el marco de las investigaciones en torno a los paisajes territoriales e interculturales, este trabajo recoge experiencias y recorridos literarios, semióticos y culturales en la frontera y al mismo tiempo despliega un relato de los avatares que atraviesa la tarea de exploración, recopilación, construcción y conservación de los archivos de autor que forman parte del patrimonio cultural-literario de la provincia de Misiones, así como sus consecuentes derivas hacia las nuevas formas de preservación y difusión.En este escrito, nos ocuparemos de presentar los criterios, definiciones y avances en la construcción del Banco-Archivo-Biblioteca de los autores territoriales, enmarcado en el proyecto de investigación Territorios literarios e interculturales. Archivos y constelaciones autorales en diálogo. Su aporte consiste en la propuesta de una intercalación teórico-metodológica para el abordaje de los archivos de autor, en tanto propone la resignificación de postulados propios de la crítica genética desde una mirada semiótica e intercultural.Asimismo, nuestra exposición se articulará a partir de la postulación y definición de los autores territoriales como aquellos escritores cuyas producciones han desencadenado una serie de reflexiones en torno al espacio y el contexto en el cual la literatura se produce. Desde esta perspectiva, la literatura del territorio misionero no se limita al simple muestreo de elementos pintoresquistas y esencialistas, del folklorismo o del color local, sino que habilita la conversación y la mirada crítica con una serie de representaciones identitarias, políticas y culturales que se desencadenan de los posicionamientos estratégicos de estos autores e intelectuales. Por tanto, la construcción de este Banco estará acompañada por la puesta en circulación de discursos críticos que problematicen las relaciones entre la escritura literaria y las prácticas culturales: los archivos recopilan las obras (libros, revistas, antologías, etc.) de autores misioneros, pero también atienden a sus archivos personales —con la consiguiente selección, digitalización y análisis crítico— que posibilitan reconstruir perfiles, imágenes y representaciones múltiples de estos autores, gestores y productores territoriales.

Even though it is impossible to determine when proverbs and sayings developed as one of the most common genres of folk literature, its history is closely related to the formation of oral speech and the enrichment of the shades of the meaning of the language. Even though proverbs and sayings turned out to be an integral part of oral speech and were occasionally recorded in epics, fairy tales, and folk stories in classical literature, particularly in large-volume works of written folklore literature, this part of paremiological units was not recorded in a separate collection, and perhaps there was no need for it in the Middle Ages. Because proverbs that are brief in form, deep in meaning, and distinguished for their accurate direction of thought during conversation are simpler, easier to remember, and less likely to be forgotten compared to epics and large-scale folkloric writings. This explains why there are so few collections of proverbs and sayings compared to epics and extensive folklore works of other genres that were recorded in earlier times. In general, today, we consider a written version of any epic, fairy tale, narrative, or other oral folk literature to be a rare literary work if it is discovered in a treasure, a private archive. The scientific community always reacted to such findings with great interest and attention. Therefore, the focus of folklore studies has always been on the sources in which proverbs were recorded.

Resumen: Desde principios del siglo XVIII el Fandango ha sido reconocido a nivel internacional como &ldquo;tropo&rdquo; en la m&uacute;sica cl&aacute;sica de Europa. Compositores espa&ntilde;oles y residentes en Espa&ntilde;a, como Domenico Scarlatti, Antonio Soler, o Luigi Boccherini, crearon una tradici&oacute;n del fandango como obra virtuosa para tecla o para conjunto de c&aacute;mara, caracterizada por animadas variaciones, mientras que Mozart aludi&oacute; a la danza en el tercer acto de su Nozze di Figaro. A principios del siglo XX, compositores espa&ntilde;oles nacionalistas como Enrique Granados o Manuel de Falla adaptaron por el fandango a un vocabulario harm&oacute;nico posrom&aacute;ntico o impresionista, y a los contornos de la forma sonata. En &ldquo;El fandango de candil&rdquo; de su suite Goyescas para piano solo, Granados emplea todo el arsenal de t&eacute;cnicas pian&iacute;sticas propias de finales del siglo XIX. Falla utiliza los recursos de la orquesta debussiana en la &ldquo;Danza de la molinera&rdquo; de su ballet El sombrero de tres picos. Mi ponencia estudia por tanto las maneras idiosincr&aacute;sicas empleadas por estos compositores para evocar el esp&iacute;ritu de los or&iacute;genes folkl&oacute;ricos de la danza con las t&eacute;cnicas de composici&oacute;n del momento. &nbsp; Abstract: The Fandango has been an internationally recognized &ldquo;trope&rdquo; in European classical music since the early eighteenth century. Spanish&shy;born and Hispanicized composers such as Domenico Scarlatti, Antonio Soler, and Luigi Boccherini created a tradition of the fandango as a virtuoso keyboard or chamber music work, featuring increasingly frenzied variations over a simple harmonic formula, while Mozart famously alluded to the genre as a courtly dance in the third act of his Marriage of Figaro. Enrique Granados and Manuel de Falla, Spanish nationalist composers of the early twentieth century, treated the Fandango to postromantic and impressionistic harmonic vocabulary and the outlines of sonata form. In &ldquo;El fandango del candil&rdquo; from his Goyescas suite for solo piano, Granados employs a full arsenal of late&shy;nineteenth century piano techniques, much as Falla utilizes the resources of the Debussyian orchestra in the &ldquo;Danza de la molinera&rdquo; from the ballet El sombrero de tres picos. My paper examines the idiosyncratic ways these composers employ contemporary mainstream compositional approaches to evoke the earthy spirit of the dance&rsquo;s folkloric origins.

In this manner, synthesis and analysis thesis from the fragile explored field of legal ethnology, thesis &ldquo;anchored in symbolic ports&rdquo;, such as The Royal House of Romania (King as synecdoche of Justice), such&nbsp; as the royal city Iaşi (Romanian normative and judicial traditions), or the municipalities Alba Iulia (&lsquo;the bow and arow&rsquo; in a &lsquo;centennial&rsquo; socio-legal &lsquo;iconography&rsquo;), Chişinău, Galaţi and T&acirc;rgu Mureş. Missing from this painting is the supreme symbol of historical Bucovina, Suceava, the Citadel of Moldova, which, through it&rsquo;s polyhistor, Simeon Florea Marian (in his capacity recognized as &ldquo;the first esthetician of the fairy tale, of this species of popular epic&rdquo;) contributed decisively to the resurgence of the moldavian and romanian legal-moral spirit. Today, in this voivodal framework of Suceava, I live the feeling of the closed circle, with meanings that go beyond the frontiers of simple thematic conferences. Sapiential and customary literature, popular, folkloric, oral, on Simeon Florea Marian, this venerable polyhistor of romanian culture has crystallized-forever in written and hermeneutic form marked by scientific precision, they are a fertile ground and worthy of being exploited noetically and for today&rsquo;s young jurists, more dedicated to jusnaturalism, perennial legal values, principles and morality, than the positive generation of ultra-formalists, legal, bordered by uncomfortable expressions of norms endowed only with text, not meaning, in the most rigid and kelsenian way with possibility. Without being an exhaustive demonstration, but only an invitation, among others, to discover the sapiential-legal values and the jusnaturalist &ndash; moralizing, spiritual one, of the romanian popular creations, in the wider, european concert, the same thesis with apoftegmatic &lsquo;dams&rsquo;, sapientogene, the present paper could only play the role of palladium, as a catalyst for possible intellectual burns in the legal field.

Рассматривается архаический языковой пласт тунгусо-маньчжурских народов, связанный с охотой. Выявляется лексика языка древней тунгусской общности, возникшая в эпоху становления культуры пеших охотников-прототунгусов эпохи неолита. Теоретической основой исследования послужили труды специалистов тунгусоведения, посвященные языку тунгусо-маньчжурских народов. Методология исследования основывается на междисциплинарном подходе, в рамках которого для решения лингвистической проблемы привлекаются результаты исследований смежных научных дисциплин, в числе которых работы, посвященные фольклору, этнографии, истории и археологии. Соответственно избранной методике исследуемый лексический пласт рассматривается через призму традиций этнического мировоззрения и устного народного творчества. Материалом исследования являются изданные словари, сборники устного народного творчества тунгусо-маньчжурских народов и полевые материалы автора. Результаты анализа архаического языкового пласта, связанного с охотой, сюжеты и мотивы фольклора, базовые мировоззренческие образы и социальные традиции тунгусо-маньчжурских народов свидетельствуют о его формировании в ландшафте горной тайги с наступлением голоцена в процессе развития кочевой культуры пеших охотников. В результате исследования автор приходит к выводу об архаичности традиций охоты, формировавшихся в эпоху древней тунгусской общности. Важнейшие архаические культурные традиции тунгусо-маньчжурских народов находят отражение в названиях орудий труда, важнейших объектов охотничьего промысла и базовых концептах, связанных с охотой. К древнетунгусскому лексическому пласту относятся слова: hurka – «петля, силок», bər – «лук [простого типа]», n`ur – «стрела», kiŋnə – «лыжи-голицы», huksi – «лыжи, подбитые камусом», omor – «лодка-берестянка», niki – «утка», toki – «лось», uǯa – «след», bu(l)ta, bota – «охота», bujun – «копытный зверь». В мировоззренческих традициях тунгусов «охота» как концепт исторически визуализируется в значениях «добыча», «дар», «дарение». The article deals with the archaic lexical stratum of the Tungus-Manchu peoples connected with hunting. It reveals the vocabulary of the ancient Tungus language formed during the culture formation of the Neolithic hunters. The theoretical basis of the research is the studies of Tungus specialists who have studied the language of the Tungus-Manchu peoples. The research methodology is based on an interdisciplinary approach that incorporates the results of studies of related scientific disciplines to solve the linguistic problem, including folklore, ethnography, history, and archeology studies. In accordance with the chosen methodology, the lexical stratum under study is viewed through the prism of ethnic worldview and folkloric traditions. The research material includes published dictionaries, collections on the folklore of the Tungus-Manchu peoples and field material of the author. The results of the analysis of the archaic lexical stratum connected with hunting, folkloric actions and motifs, basic worldviews, and social traditions of the Tungus-Manchu peoples show their origin in the mountain taiga landscape with the beginning of the Holocene during the development of the nomadic culture of hunters. As a result of the research, the author concludes that the archaic hunting traditions have their origin in the era of the ancient Tungus community. The main archaic cultural traditions of the Tungus Manchu peoples are reflected in the names of tools, the main objects of hunting and basic concepts connected with hunting. The ancient Tungus lexical stratum includes the following words: hurka – “noose, snare,” bər – “bow [of a simple type],” n`ur – “arrow,” kiŋnə – “wooden skis,” huksi – “skin skis,” omor – “birch-bark boat,” niki – “duck,” toki – “moose,” uǯa – “footprint,” bu(l)ta, bota – “hunting,” bujun – “hoofed animal.” In the worldview traditions of the Tungus, hunting as a concept is historically visualized in the meanings of “prey,” “gift,” and “giving”.

Complementary herbal medicines are currently required to overcome the drastic side effects of chemical based Disease-modifying antirheumatic drugs (DMARDS) and Non-steroidal anti-inflammatory drugs (NSAIDS). Herbal based drugs may include herbal preparations, purified compounds, vitamins and their products. Vitex negundo commonly called ‘Nochi’ in Tamil is an annual edible medicinal plant predominantly used as mosquito repellent. Traditionally leaves and root of V. negundo are used to treat cough, asthma, colitis, dysentery, diarrhoea, flatulence, fever, vomiting, and rheumatism. V. negundo is also found to possess analgesic, anti-oxidant, antiinflammatory, anti-arthritic, anti-hyper pigmentation, immuno-stimulant, hepato-protective, anti-androgenic, pesticidal, anti-cancerous and anti-metastatic activity. V. negundo contains ample bioactive leads that might be pharmacologically beneficial. Therefore, the scientific validation of this folkloric herbal practice is needed. The present study aimed to assess the free radical scavenging role of methanolic extract of leaf and root of Vitex negundo. The study also focused on screening, isolation and characterization of bioactive compound Vitexin. Vitexin is a pharmacologically beneficial flavonoid found to be in the root extract of V. negundo. The roots of V. negundo were subjected to in vitro qualitative and quantitative phytochemical screening and the results showed that both the leaf and root extract may possess effective free radical scavenging role. Studies on root extract revealed the presence of abundant flavonoids in comparison with leaf extract of V. negundo. The root extract was further subjected to preparative Thin Layer Chromatography (pTLC), Liquid Chromatography Mass Spectrophotometry (LCMS), and preparative High performance Liquid Chromatography (pHPLC) for the screening and isolation of flavonoids. The structure of Vitexin was confirmed by 13C NMR characterization analysis on comparison with the literaure. The present work may develop simple and reliable method for the purification of bioactive flavonoids from the methanolic root extract of the medicinal plant V. negundo which may possesses abundant biomedical importance against inflammatory diseases.

Сказки как художественное творение человеческого чувства, духа детства являются кристаллизацией коллективной мудрости, имеют важные языковые и культурные ценности, отражают взгляды людей на человеческую природу. Сказки, как правило, имеют явную иронию и воспитательную природу, используя метафорические методы, чтобы описать предмет, в них глубокая правда проявляется в простой истории. Культурные различия между Китаем и Россией являются важным предметом изучения языка и культуры. Для того чтобы лучше понять китайскую и русскую культуры, углубить взаимопонимание между двумя народами и укрепить обмен между Китаем и Россией, необходимо изучать противоречивые характеристикирусского и китайского характера, что и предпринято в этой статье на материале сказок. На основе анализа русской и китайской сказок в статье сравнивается слабый характер персонажей и раскрываются уникальные национальные стили Китая и России. Путем описания слабого характера проявляются благородные духовные качества. Сказочный жанр русского и китайского фольклора в разной степени изучен, но в последнее время большой интерес проявляется к изучению китайских волшебных сказок. В этой работе мы преследуем следующую цель – провести сравнительно-сопоставительный анализ русской и китайской сказок для выявления общих ценностных ориентаций. Китайский и русский фольклор развивался по-разному, но сегодня сказка является одним из центральных предметов изучения фольклористов обеих стран. Fairy tales as an artistic creation of human feeling, the spirit of childhood are crystallization of collective wisdom, have important linguistic and cultural values, reflect people's views on human nature. Fairy tales tend to have a clear irony and educational nature, using metaphorical methods to describe the subject, in which deep truth manifests itself in a simple story. The cultural differences between China and Russia are an important subject of language and culture study. In order to better understand Chinese and Russian cultures, deepen mutual understanding between the two peoples and strengthen exchanges between China and Russia, it is necessary to study the conflicting characteristics of the Russian and Chinese character, which is what this article has undertaken on the basis of fairy tales. Based on the analysis of Russian and Chinese fairy tales, the article compares the weak character of the protagonists and reveals the unique national styles of China and Russia. By describing a weak character, noble spiritual qualities are manifested. The fairytale genre of Russian and Chinese folklore has been studied to varying degrees, but recently a great interest has been shown in the study of Chinese fairy tales. In this work, we pursue the following goal - to carry out a comparative analysis of Russian and Chinese fairy tales to identify common value orientations. Chinese and Russian folklore developed in different ways, but today the tale is one of the central subjects of study of folklorists of both countries.

Résumé: Cet article examine le rôle de l'amazighité dans l'enrichissement de notre compréhension du multilinguisme dans la littérature maghrébine, en se concentrant sur deux oeuvres marocaines : Tawarguit d imik (2011) de Mohamed Akounad et Il était une fois un vieux couple heureux (2002) de Mohamed Khaïr-Eddine. Malgré la diversité linguistique du Maghreb, la littérature de la région est majoritairement exprimée en arabe et en français, marginalisant souvent les langues indigènes telles que le tamazight et le darija. Dans le roman d'Akounad, le personnage de Ssi Brahim, un imam, choisit de prêcher en tamazight plutôt qu'en arabe classique, ce qui renforce sa communauté et inclut des groupes marginalisés comme les femmes, remettant en question les hiérarchies linguistiques et de genre établies dans l'espace religieux. Bien que rédigé en français, le roman de Khaïr-Eddine se concentre sur le personnage de Bouchaïb, qui insiste pour écrire sa poésie en tamazight, critiquant ainsi la tendance à traiter le tamazight comme un simple accessoire enrichissant les langues dominantes, une pratique qui risque de le réduire à un statut folklorisé et marchandisé. L'article soutient que l'expression de l'amazighité uniquement à travers les langues de l'Autre perpétue les hiérarchies linguistiques et marginalise le tamazight en tant que langue périphérique ou exotique. L'étude souligne l'importance non seulement d'encourager la production de littérature en tamazight, mais aussi de reconnaître et de valoriser les oeuvres maghrébines qui reflètent l'amazighité, même lorsqu'elles sont rédigées dans les langues de l'Autre. En plaidant pour une littérature maghrébine véritablement multilingue qui inclut le tamazight comme composante centrale, l'article appelle à une reconfiguration de l'espace littéraire afin de refléter pleinement la richesse linguistique et culturelle de la région. Abstract: This article examines the role of amazighité in enriching our understanding of multilingualism in Maghrebi literature, focusing on two Moroccan works: Tawarguit d imik (2011) by Mohamed Akounad and Il était une fois un vieux couple heureux (2002) by Mohamed Khaïr-Eddine. Despite the linguistic diversity of the Maghreb, literature from the region is predominantly expressed in Arabic and French, often marginalizing indigenous languages like tamazight and darija. In Akounad's novel, the character Ssi Brahim, an imam, chooses to preach in tamazight rather than classical Arabic, challenging established linguistic and gender hierarchies in the religious space. Although written in French, Khaïr-Eddine's novel centers on the character Bouchaïb, who insists on writing poetry in tamazight, thereby critiquing the tendency to treat tamazight as merely an accessory enriching dominant language, a practice that risks reducing it to a commodified, folklorized status. The article argues that expressing amazighité solely through languages of the Other perpetuates linguistic hierarchies and marginalizes tamazight as peripheral or exotic. The study underscores the importance of not only encouraging the production of literature in tamazight but also recognizing and valuing Maghrebi works that reflect amazighité , even when written in languages of the Other. By advocating for a truly multilingual Maghrebi literature that includes tamazight as a central component, the article calls for a reconfiguration of the Maghrebi literary space to fully reflect the region's linguistic and cultural richness.

Роман народного писателя Якутии В. С. Яковлева-Далана «Тыгын Дархан» является одним из выдающихся произведений якутской литературы, находящихся на вершине её развития. Описывающаяся в нём историческая эпоха, эпическая масштабность, нравственно-филофские ценности, патриотический дух произведения вызывают неподдельный интерес к нему как со стороны читателей, так и со стороны исследователей. Актуальность выбранной темы определяется также необходимостью исследования языка и стиля писателя как малоизученной проблемы в якутском языкознании и литературоведении. В статье ставится цель проанализировать языковые средства, используемые в романе «Тыгын Дархан» для определения его стилистического своеобразия и индивидуально-авторского мастерства. Исследование проводится на стыке лингвостилистики и литературоведческой стилистики. Изучение совокупности средств художественной выразительности романа проводится по уровням языка: лексики, морфологии, синтаксиса. В стилистическом анализе также учитываются литературоведческие уровни, включающие события, характеры, пейзажи, картины художественного мира, идеи и замыслы произведения. Исходя из особенностей стилистического анализа текста художественного произведения в качестве методов исследования выбраны описательный метод, метод стилистического анализа текста, сплошная выборка, стилистическое наблюдение, стилистический эксперимент подбора лексических, грамматических синонимов и вариантов, синтеза. В результате исследования выявлено, что основным выразителем стиля романа «Тыгын Дархан» является повторение ритмико-синтаксических конструкций, характерного для якутской фольклорной стихотворной речи. При этом наблюдается не простое калькирование фольклорных формульных слов, а их творческое переосмысление автором в тексте романа. Торжественный слог произведения передается также с помощью лексики высокого стиля, поэтизмов, фольклоризмов, мифологизмов, историзмов, религиозной лексики, слов-реалий и различных морфологических средств. Главная функция выявленных языковых средств — это сообщение тексту романа высокой, торжественной окраски. Также они выполняют функцию раскрытия художественных образов, выражают восторженно-почтительное отношение к предводителю народа саха – Тыгыну и преклонение, даже страх, перед великим могуществом природных сил, являются также средством поэтизации речи, несут характерологическую функцию, связанную сообщать тексту романа исторический колорит времён предводителя Тыгына. The novel of the people’s writer of Yakutia Vasily Semyonovich Yakovlev-Dalan «Tygyn Darkhan» is one of the outstanding works of Yakut literature, which are at the peak of its development. The historical epoch described in it, the epic scale, moral and philosophic values, the patriotic spirit of the work arouses genuine interest in it both from readers and researchers. The relevance of the chosen topic is also determined by the need to study the language and style of the writer, as a little-studied problem in Yakut linguistics and literary studies. The article aims to analyze the linguistic means used in the novel «Tygyn Darkhan» to determine its stylistic originality and individual authorship. The research is carried out at the junction of linguistics and literary stylistics. The study of the totality of the means of artistic expression of the novel is carried out at the levels of language: vocabulary, morphology, syntax. The stylistic analysis also takes into account literary levels, including events, characters, landscapes, paintings of the artistic world, ideas and ideas of the work. Based on the peculiarities of the stylistic analysis of the text of a work of art, the descriptive method, the method of stylistic analysis of the text, continuous sampling, stylistic observation, stylistic experiment of the selection of lexical, grammatical synonyms and variants, synthesis were chosen as research methods. As a result of the study, it was revealed that the main expression of the style of the novel «Tygyn Darkhan» is the repetition of rhythmic and syntactic constructions characteristic of the Yakut folklore poetic speech. At the same time, there is not a simple calculus of folklore formula words, but their creative reinterpretation by the author in the text of the novel. The solemn syllable of the work is also conveyed with the help of high-style vocabulary, poetics, folklorisms, mythologems, historicisms, religious vocabulary, words-realities and various morphological means. The main function of the identified language means is a message to the text of the novel of a high, solemn coloring. They also perform the function of revealing artistic images, express an enthusiastic and respectful attitude to the leader of the Sakha people – Tygyn, and worship, even fear of the great power of natural forces, are also a means of poetizing speech, carry a characterological function associated with informing the text of the novel of the historical flavor of the times of the leader Tygyn.

<em>“Oppression, ruled and still being ruled by patriarchy, government, </em> <em> caste and religion, Dalit women are forced to break all the strictures of the society </em> <em> in order to live”</em> (Preface, <em>Sangati</em>) India is one of the fastest growing countries in the world; yet it is notorious for its rigid caste system. The earliest records of Indian civilization are preserved in Aryan scriptures or what is today known as Hindu Scriptures. The early Indian society was constructed around Varnasrama Dharma, a labour based division of castes in India that inevitably brought racial prejudices. The Brahmins were the topmost in the pecking order. The Sudras were destined to serve the three upper ladders, namely Brahmins, Kshatriyas and Vaisyas. They remain the ‘untouchables’ in society. They have been accepted as Scheduled Castes in the Indian constitution after the British use of the phrase. Gandhiji and Ambedkar used two different terms to name them- harijan and Dalit. Their efforts have brought about an upliftment in their social status. They also encouraged education of the Dalits that ultimately lead to a new writing. Indian Dalit literature began as a concerted movement in the 1960s, though clannish elements were visible as early in the 11th century. It began in Marathi literature and later on infiltrated to Hindi, Kannada, Telugu, Malayalam and Tamil literatures. Dalit writers initiated a realistic, experience based and authentic literature which threatened the upper class hegemony in society and in literature. The anger, sorrow and the indomitable will and hope of Dalit protagonists were offered in a tongue which is often denigrated as vulgar. The writers of different states in India share a collective relationship to a common cause, a common identity and a common political stance. Dalit is a literature in India is of whole community but of an individual. Many writers, thinkers, social reformers and political figures gave their contribution in the dalit literary movement like B.R. Ambedkar, M.K. Gandhi, Rettaimalai Srinivasan etc. Exploitation or oppression of weaker by stronger is as old as mankind itself. The Indian history has been a vibrant record of conflict and dialectic between two opposite forces like exploiters and exploited colonizer and colonized, powerful and powerless. Dalit literature is always marked by revolt and a great struggle of lower caste, against the high class people commonly known as savarna. Southern India has witnessed organized attacks against Dalits through Panchami Land issue, Chengara struggle and Muthanga issue. Dalit caste organizations like ‘Dalit Panthers of India’ in Maharashtra, ‘Dalit Mahasabha’ in Andhra Pradesh, ‘Dalit Sangharsha Samiti’ in Karnataka, and ‘Arundhatiyar’ in Tamil Nadu were formed in response to mainstream atrocities. They demand for equitable shares in opportunities and reservation. Most of the activists are good writers as well. Dalit issues are recorded in a variety of genres-autobiographies, novels, poetry and essays. In South India there are many Dalit feminist writers. Among them Bama, Sivakami, Poomani explored subalternity and gender discrimination in their works. Their female protagonists are double victimized as condition is analogous to the situation of black women in America. A recent wave of Dalit literature emerged as Dalit Feminism. Bama is a representative novelist of Dalit feminism. Caste and Gender are the two important identity building mechanisms that create a dalit feminist perspective. Dalit feminism redefines women from the socio – political perspective of a dalit, taking into account the caste and gender oppression. This paper focuses on the sufferings of Dalit women in two aspects: first, being a woman second, belongs to the lowest community. Therefore they are double oppressed. From the time they are born, girls are discriminated against just by their sex. A girl-child is neglected at infancy in favour of the boy. The girls play gender-games like cooking or getting married. The women of Tamil Dalit community are on their feet doing back- breaking work from morning till night, all to just barely make ends meet. The men never do their share of the work. Dalit women participate in productive works, earn wages and participate in the economic chain. But they are paid much less. They are also constantly under the threat of Sexual harassments in the field of work. Family, Church and Caste-Courts are usually male-led. In Tamil Nadu a laudable attempt to couple ‘Penniyam’ (feminism) and ‘dalityam’ (Dalit Studies) has been recorded by Bama, whose <em>Sangati</em> speaks of the hitherto unheard annals of dalit women. Through <em>Sangati</em>, Bama tries to bounce back the bi-fold oppression of dalit women. Sangati is more of a celebration of dalit female identity. Bama’s women are no longer subjugated; they assert their individuality through education and collective action. Their resistance-both passive and active to oppression makes <em>Sangati </em>a piquant depiction of the dalit women. In <em>Sangati </em>Bama focuses on the double oppression of females. While going through all this caste system some important questions arises in the mind: Who are Dalits? What is feminism? What is women’s identity Focused in Bama’s <em>Sangati? </em>What are the solutions suggested in Bama’s <em>Sangati? </em>These are some important questions which pressurize us to go through the text. Sangati exposes that how a man spend money to earn as they please but on the other hand a woman has to fulfill their family responsibilities. Bama’s ‘<em>Sangati’ </em>is a unique Dalit feminist narrative. It is mainly concern with women’s movement in India. Literature also contributes in the Dalit movement and to the women’s movement in India especially in Tamilnadu movement of 1960s may be noted as the starting point of feminism. But of course before this there already occurred various struggle against male oppression, the privilege systems and inequality. As an exponent of Dalit feminism, Bama has found is <em>Karukku </em>the right way to explores the sufferings of Dalit women. <em>Sangati </em>carries an autobiographical element in their narrative, but it is a story of a whole community, not an individual. In <em>Sangati, </em>many strong Dalit women who had the shackles of authority are also focused. The condition of dalits were very bad as they were not allowed to enter in to the temple, and schools for education .This form of discrimination based on identity akin to racism. <em>Sangati </em>was originally written in Tamil in 1994. It was translated by Laxmi Halmstrom into English. The whole narrative is divided into twelve chapters. The word ‘Sangati’ means events, and thus the novel through individual stories, anecdotes and memories portrays the event that takes place in the life of dalit women. <em>Sangati </em>deals with several generations of women in dalit community. The book is full of interconnected events – the everyday happenings of dalit community. It goes against the notions of traditional novel. The book does not carry any plot in the normal sense, but it is a series of anecdotes. The author herself says the purpose of writing the book in her acknowledgement as: <em>“My mind is crowded with many anecdotes: stories not only about the sorrows and</em> <em>tears of dalit women, but also about their lively and rebellious culture, passion about life with vitality, truth, enjoyment and about their hard labour. I wanted to shout out these stories.” (Sangati, </em>9.<em>)</em> In the initial chapters, it’s narrated in the first person, then counterpointed by the generalizing comments of the grandmother and other mother figures, and later still, by the author-narrator’s reflections. The earlier chapters show the narrator as a young girl of about twelve years of age, but in the last quarter, as a young woman. The reflective voice is that of an adult looking back and meditating deeply upon her experience in the past which calls for practical actions. It has no plot in the normal sense but just some powerful stories of memorable protagonists. As Bama nego-feministicly voices out the grievances of the Paraiyya women, there is, in the first place, the question of economic inequality. Women are presented as wage earners as much as men are, working equally as men as agricultural and building-site labourers, but still earning less than men do, thereby highlighting Socialist-feminism. Yet the money that men earn is their own to spend as they please, whereas women bear the financial burdens of running the whole family, often even singly. They are constantly vulnerable to a lot of sexual harassment in the world of work. Within their community, the power rests with men as the caste-courts and churches are male-led. Rules for sexual behavior are brow-raisingly different for men and women. Hard labour and economic precariousness lead to a culture of violence, and Bama boldly explores this theme too. <em>Sangati</em> deals with gender bias faced by dalit women right from their childhood. Girl babies are always considered inferior and taken less care. The narrator of this book is a young girl in the early chapters grows pensive due to the myriad events happening around her. As she grows into a young woman, she stresses on the need for change and is calling out for action against atrocities that happen to the girls and women in her community. Invidious patriarchal distinctions are initially inculcated in girl children within the first ten years of their lives. Gender games act as effective tools to achieve this goal. Bama as a young girl of twelve learns that boys have different roles to play than girls which are perpetuated in the form of gender games that they are made to play as children. While games like ‘ kabadi’ and ‘marbles’ are meant for boys, girls play at cooking, getting married and other domestic matters. <em>“ Even when we played ‘mothers and fathers’, we always had to serve the mud ‘ rice’ to the boys first. They used to pull us by the hair and hit us says, ‘what sort of food is this, di, without salt or anything!’ In those days we used to accept those pretence blows, and think it was all good fun. Nowadays, for many of the girls those have become real blows and their entire lines are hell” (31).</em> In Dalit community elders consider boys as permanent members in a family because they are supposed to take care of their parents. On the other hand, female children are transient members who are to be transplanted to another family and so have no role to play in their families. This causes gender prejudices even in the minds of parents. Dalit girls are hardly enjoying their childhood. They have little time to play as they have to take care of their younger siblings. “Maikkanni is one such girl who has started to work from the day she learns to walk” (70). She has to go to work when her mother delivers a baby. When her mother becomes fit Maikkani turn to take care of the new born baby. The life of a dalit girl was tormenting but the life of a grown up dalit woman was worse. Bama describes the life style of dalit girls as follows: <em>“Why can’t we be the same as boys? We aren’t allowed to talk loudly or laugh noisily; even when we sleep we can’t stretch out on our backs nor lie face down on our bellies. We always have to walk with our heads bow down, gazing at our toes even when our stomachs are screaming with hunger, we mustn’t eat first. We are allowed to eat only after the men in the family have finished and gone what Patti aren’t we also human beings? (29)”</em> Bama realistically portrays the physical violence like lynching, whipping and canning that dalit women suffers by their fathers, brothers and husbands. She explores the psychological stress and strains of them. Bama cleverly ropes in the prevailing subordinate condition of women through the ages as a girl, woman, a bread winner for the family and her place in the church. All of these proved claustrophobic to the women folk of the dalit community. The two stories that Bama reminds is that of Mariamma and Thayi whose marital disharmonies are revealed in an attempt to stereotype the dalit predicament. They are ill-treated and beaten up daily by their husbands. Although both the husband and wife came after a hard day’s work in the field, the husband went straight to the Chavadi to while away their time, coming home only for their meal. But as for the wife they return home wash vessels, clean the house, collect water, gather firewood, go to the shops to buy rice for cooking and other provision, feed the husband and children before they sleep, eat what is left over and go to bed. “<em>Even they lay down their bodies wracked with pain, they are not allowed to sleep, whether she dies or survived, she had to give pleasure and enjoyment to her husband</em>” (59). In <em>Sangati</em>, Bama subverts mainstream legends and asks relevant questions pertaining to her culture. The story of Thiruvallvar, the great Tamil poet’s wife Vasuki, perceived as the epitome of chastity and devotion to husband is mentioned to illustrate the subordinate position of women in marriage. The story she feels is a reminder that wives ate after husbands even during Thiruvalluvar’s time. Bama offers an alternate folk song about Ananatamma of West Street, who was beaten up for eating crab curry before serving her husband: <em>“O crab, crab my pretty little crab, who wandered through all the fields I Planted I pulled off your claws and put you on a pot, I gave the pot a hot and set it down. I waited and waited for him to come home, And began eating as came through the door. He came to hit me the hungry brute , He pounced at me to kill me…”(30)</em> These lines are the reminder that wives ate after husbands even in this twentieth century also. The dalit women are an easy prey to the men because of their repressed state. Over worked and exploited in the family these women give vent to their mental agony in their spirit- possessed state. Veliamma’s stories about the spirits that haunted Dalit women make Bama conclude that these stories are concocted to push women to subservient position. Dalit women are an easy prey to these stories because of their repressed state. Overworked and exploited both in the family and in society, these women give vent to their mental agony in their spirit-possessed state. In her attempt to write a ‘her story’, Bama makes interesting references to food enjoyed by her people. Traditionally in most homes the kitchen is a limited space designated for women. But over the years women have transformed this space into an area of discourse that gives them a semblance of power. In <em>Sangati,</em> Sammuga Kizhavi’s mouthwatering description of ragikuuzh eating is thought provoking. She describes it as <em>“nectar from heaven” </em>(37).Every sunday, the narrator’s patti made a special kuzhambu with cow’s intestine which went well with ragi kali. There is also mention of patti’s hot kuzhambu with dried fish. In Karukku Bama brings to light the gugapusai at Chinnamalai, the highlight of the festival is slaughter of rooster, goat or pig. There is immense joy in cooking the food and feasting the delicacy. By subverting simple acts of cooking, feeding and sharing food, Bama brings the novel alive before our eyes. KanchaIlliah in his thought provoking work <em>Why I am Not a Hindu</em>, mentions that certain kinds of rich food like ghee and milk were seldom available for the economically downtrodden dalits in the rural areas. But Bama celebrates the food that is cooked and served by the womenfolk in her community. There is great joy in discovering other more healthy and nutritious options. The food metaphor helps in the narrating of her stories earlier neglected or misrepresented in mainstream writing. Bama realizes that the dalit women are constantly under menace and they are not safe in their work place also. They are constantly under the threat of sexual harassments in the field of work Bama asks her women: <em>“We must be strong. We must show by our own resolute lives that we believe ardently in our independence… just as we work hard so long as there is strength in our bodies, so too, must we strengthen our hearts and minds in order to survive” (59).</em> The men because they are dalits often undergo dog’s treatment in the hands of the upper caste men who are the landlords. In such circumstances these men show off their male pride and authority, their suppressed anger that is vented out on their wives who are beaten to pulp by these men. Ultimately it the women who are tormented both within and without their homes. Playing the spokesperson for the women of her community, Bama states that it is on her to speak out the truth that though all women are slaves to men, her women are the worst sufferers. This is the core theme of <em>Sangati.</em> The dalit women are mostly the wage earners of hard labour sweating it out in the fields, construction sites, and in match box industries. The unequal division of labour, a product of first world elite that has been imposed upon the dalit women who are paid less than their men. From <em>Sangati</em> we learn that the oppress class too has its own gender discrimination wherein dalit men who are on the margins of the structured society in turn marginalize their own women on the basis of fixed gener roles. Bama expresses her agony as: <em>“It is not the same for women of other castes and communities. Our women cannot bear the torment of upper-caste masters (mudalalis) in the fields, and home they cannot bear the violence of their husbands” (65).</em> Among the other castes like Pallars, Koravars and Chakkiliyars, only the Parayars have been converted into Christianity. This coerced conversion brought nothing but economic deprivation because they had lost their right to reservation. The popular education scheme pronused by the Christian priests becomes a poor substitute for economic self sufficiency. <em>Sangati</em> is in its huge criticism of Indian church. Bama feministicaly voices out the grievances of Paraiya women. In Catholic Indian churches there is prevalence of Caste-hierarchy within sub-castes of dalit community. The Catholic priests were also gender-biased and treated the converted dalit women as inferior. She expressed this as: <em>Everywhere you look, you see blows and beatings, shame and</em> <em>humiliation…Became we have not been to school or learnt anything, we go about like</em> <em>slaves all our lives, from the day we are born till the day we die, As if we are blind, even though we have eyes. </em>[66] Bama also draws a comparison between dalit and non-dalit women. According to her the dalit situation is better than that of upper class women who have been forced to live in most vulnerable conditions. Upper class women find no way to express their pent up emotions. Bama feels proud that their women have economic freedom from their men folk; they work hard in fields and rear up their children. Sometimes widows are allowed remarriage and their culture never alienates a widow form the mainstream. But the upper class women confine their emotions within the four walls of their homes. But dalit women women suffer caste oppression in mornings and gender oppression in nights. In <em>Sangati </em>the child narrator in the early chapters grows melancholic and rebellious due to the events happening around her. When she grows into a young woman she stresses on the need for a radical change and calls out for action against the exigencies of her companions. She exhorts then to take pride of their (dalit women) caste and march towards social empowerment. Bama draws attention to their immense capacity for hard labour, their spirit of protests their cultures absence of dowry and their rich cultural heritage. She talks about the narrator’s courageous grandmother who pawned her ‘thali’ to feed her children, katturaasa’s mother who bore her son by herself while cutting grass and about Marriamma who came back to work even after she met with an accident. But they have been silenced in the crucial moments of their lives. When Bams’s protagonist admonishes her grandmother not for protesting, she replies, <em>“From your ancestors’ times it has been agreed that what the men say is right. Don’t you go dreaming that everything is going to change just because you have learnt a few letters of the alphabet?” (118)</em> In <em>Sangati</em> the language of dalit women is rich and resourceful giving way to proverbs folklore and folk songs. Bama as a feminist writer, protests against all forms of oppression and sufferings faced by dalit women in the first half of this novel. But later part moves away from the state of depression and oppression. Instead it presents a positive identity of dalit women focusing their inner strength and vigor. She also attracts our mind towards the education system about dalit community. Pechiamma, who belongs to Chakkiliyar’s community, studied up to fifth class, but the girls of that community do not go to school all that much. Her language is also very different from the other women writers of India as she is more generous with the usage of Dalit Tamil slangs. She addresses the women of the village by using the suffix ‘amma’ (mother) with their names. From the names of places, months, festivals, rituals, customs, utensils, ornaments, clothes, edibles, games, etc to the names of occupations, the way of addressing relatives, ghosts, spirits, etc; she unceasingly uses various Tamil words. Dalit women resort to variegated tools for survival. While Mariamma accepts what comes to her, Pecchiamma protests by walking on without her husband. Language is one of the effective tools they deploy against their oppressors. The folkloric native language of the dalits itself becomes a language of protest and political challenge. To this Bama added a language of human rights articulated by her liberated protagonist. This new language of political resistance also includes a free use of abusive terms. Women give vent to their feelings by calling their neighbours abusive names or shouting the names of their body parts. This, for them, is an effective defence mechanism to maintain their psychological equilibrium. The text of <em>Sangati </em>as such deals with the variegated experiences and stories of the dalit women stringed together, thus breaking the normative literary narrative of a single plot or story. It falls closer to the narrative pattern of ethnographic/anthropological studies wherein testimonials of the concerned peoples form the manner and method of constructing experiences and personal narratives which actually serve to build their history as a community or ethnic group. Bama uses a language unfamiliar to the mainstream, upper caste society to write her works. She discards the so called “chaste” Tamil made unavailable for her people but employs the oral folk language, which is familiar to her society. Unlike other writers who have dealt with Dalit life in Tamil like Sivakami, Vidivelli and Imayam, who use the Dalit language only in dialogues between their characters, Bama writes her whole work in the language of her community through her works especially <em>Sangati.</em> Sangati both mirror up the state of depression and also reveals the vigor, courage and the resilience of dalit women even in the midst of all misery. In the end of this novel, the dalit women celebrate their newly found identity and inner strength. The narrator of this novel finally becomes free from clutches of her limitations. She works and lives by hereself. Bama realizes that it is up to the dalit women to take their lives into their own hands. She makes an appeal for a change and betterment of the dalit women’s life in various aspects which includes sex and gender discrimination, equal treatment in the workplace, right to education etc. That is why Bama depicted the various stages of dalit women as a girl, women and the old age women. By discussing the narratives of many women from the Dalit community Bama places before us the rural Dalit woman’s identity. Though the struggle is much owing to the double oppression of caste and gender, we notice that their strength is also revealed. The women stand by each other to help each other when there is injustice meted out not only in society but in family circles as well. Bama doesn’t shy away from describing violent domestic or street quarrels. In <em>Sangati</em> we hear the voices of many women, some in pain, some in anger, some in frustration and some out of courage. Sometimes the language is full of expletive with sexual undertones. Bama suggests that it is the sharp tongue of a woman that can protect her against her oppressors. The characters often break in to a song or a chant when the situation demands and there is a song for every occasion.. But what is thought provoking is Bama’s sketching a positive identity for the Dalit woman. An alternate her story as opposed to the mainstream is drawn with vivid descriptions of a marriage ceremony, attaining of puberty ceremony, joy of togetherness, singing songs, cooking and sharing food. In most rural homes the Dalit woman is an earning member, widow re-marriages are possible and tali or the sacred thread worn as a chain during the marriage is not this binding symbol as in other communities. It is interesting that the Dalit woman cannot be suppressed in spite of caste, gender oppression.

The article provides an opinion on the level of study of the concept of folklorism and its classification. Folklorisms are divided into two groups: simple and complex folklorisms. Complex folklorisms: a) analytical folklorism; b) synthesized folklorism; c) is divided into three groups in the form of folklorisms of a stylization nature. This article deals with the literary-aesthetic and linguopoetic features of analytical folklore &ndash; the first type of simple and complex folklorism used in the works of Abdulhamid Sulaymonogly Chulpan. Also, one of the literary features of the proverbs is that the function of simulation is evidenced by examples in several appearances. The definition and classification of analytical folklorisms is critically examined, as well as the expediency of adding a third form to the classification, that is, folklore that is similar in form and updated in content. The article analyzes applause and curses into types.

<strong>Abstract</strong> The in folk music. This review is based on the ideas of the outstanding folklorist K.Kvitka &ndash; the theory &ldquo;from simple to complex&rdquo;. The article emphasizes the importance of studying the stages of evolution of folk music.

In this paper we analyse the global dynamical behaviour of some classical models in the plane. Informally speaking we prove that the folkloric criteria based on the relative positions of the nullclines for Lotka–Volterra systems are also valid in a wide class of discrete systems. The method of proof consists of dividing the plane into suitable positively invariant regions and applying the theory of translation arcs in a subtle manner. Our approach allows us to extend several results of the theory of monotone systems to nonmonotone systems. Applications in models with weak Allee effect, population models for pioneer-climax species, and predator–prey systems are given.

Abstract André Jolles’s Simple Forms (1929), widely regarded as a classic of genre theory, examines a range of folkloric and nonauthorial forms, such as the fairy tale, the riddle, and the joke, as part of an ambitious attempt to reground literary theory in a “morphological” approach to language inspired, ultimately, by Goethean science. This article argues that Jolles’s study should also be recognized as an important early work of media theory. Simple Forms includes a striking number of examples drawn from the mass-market newspapers of Jolles’s day. In turning to mass media, Jolles followed in the footsteps of the art historian Aby Warburg, whose Mnemosyne Atlas (1924–29) similarly juxtaposed mass-media images from newspapers with works of art from earlier historical periods. The article details how Warburg’s morphological method helped Jolles expand the boundaries of literary study to include mass media by providing him with a morphological version of the motif concept that still has generative applications.

Hemionitis arifolia (Family-Adiantaceae)is an attractive and unusual dwarf fern.It is used folkloric to treat ear ache, migraine, haemorrhoids, arthritis, intestinal worms and wounds.It has been medically evaluated for its hypoglycaemic and anti-diabeticproperties in rats.The present investigation deals with macroscopic and microscopic evaluation of the leaf material and establishment of its quality parameters, including physicochemical and phytochemical evaluation.Macroscopy revealed lamina as dimorphous, simple; sterile fronds deeply cordate, margin entire, apex rounded; lower surface light green with scattered, appressed scales and hairs, densely along the midrib sparsely on surface. In the microscopic studies, the lamina is isobilateral and has no distinction of adaxial and abaxial sides.The vascular strand consists of a wide, bow shaped row of xylem elements; the two margins of the xylem strand are thin; the middle part being thick. Phloem occurs in thin band both on the lower and upper portions of the xylem arc. Chief characters of powder include epidermal cells, elliptical stomata, multicellular, uniseriate trichomes, xylem elements. Physicochemical parameters such as moisture content, chlorophyll estimation, fluorescence analysis, ash values and extractive values were done. Phytochemical screening revealed the presence of many therapeutically important classes of phytoconstituents such as glycosides, phenolics, flavonoids, carbohydrate, terpenoids, sterols and saponins. Thus this study can serve as a valuable source of information and provide suitable standards for identification of this plant material in future investigations and applications.

Rhazya stricta is an important medicinal plant used as native herbal drug to cure various diseases across Asia. Plant-microbe interactions represented by different environment abiotic stress factors that shows effects also on the host plants or on the associated microbial communities. Soil microorganism can be adapted to specific stress conditions and evolve tolerance to this stress. The adjustment of the plant microbiome can productively improve the yield production of essential crops. In the present study, metagenomics analysis of bacterial communities associated with five desert plants (Rhazya stricta, Enneapogon desvauxii, Citrullus colocynthis, Senna italica, and Zygophyllum simplex) was used to highlights the bacterial diversity in the communities of these desert plants, as they also have an importance as folkloric medicinal plants, in addition to their important roles in the ecological and agricultural applications. The results of the bacterial community’s taxonomy showed eleven phyla in each sample, and the most abundant were highlighted for further analysis as it was unassigned phyla. Results indicated that the most commonlyknownphylawere; Actinobacteria, Proteobacteria, Chloroflexi, Firmicutes, Acidobacteria, Gemmatimonadetes, and Bacteroidetes. Further bioinformatics and functional analysis of bacteria are needed to investigate their effectiveness in promoting plant growth and understanding symbiotic relationships under drought-stress conditions, meanwhile, introducing the pinpointed ones in this study will help in achieving this task.

Vladimir Ivanovich Dahl is known as a lexicographer, military doctor, ethnographer, folklorist and writer. In the context of Russian-Oriental literary ties, the work of V.I. Dahl attracts the attention of researchers by oriental motives, which are known to a narrow circle of researchers and readers. And therefore, the purpose of the article is to give an idea of manifesting the orientalism specifics in V.I. Dahl works. Pictures of the Orient history are presented in V.I. Dahl works, acquainting Russian reader with Tatars, Bashkirs and Kazakhs folklore and ethnography. These oriental works can be loosely divided into following groups: scientific works, oriental parables, oriental stories, and works about historical figures. The first group includes works of an ethnographic nature. Russian reader was enriched with scientific information, information on the Oriental people’s life through the eyes of a Russian prisoner or from the words of Asia people. Another group includes oriental parables. Analysis of V.I. Dahl works from the cycle “Oriental parables and fairy tales” allowed to refer the parables “Soleiman and the owl”, “Soleiman and the crow”, “Caliph painter” to the moralizing ones and the parables “Gallas – teacher and student”, “Padishah’s dream”, “The Thief and the Concealer”, “Sheikh Najmuddin” to the religious. From a wide range of V.I. Dahl works on oriental motives the literary criticism studied works related to the genre of oriental stories, for instance “Sheep”, “The Tale of Princess Milonega...”. Oriental material associated with historical figures – “The Life of Dzhingizkhan” (1843), “The Story of Aksak-Timur” (1838) is based on the life and activities of a historical person. Such works are based on documentary works (contemporaries of the described one) or on the oriental folk tales and legends. The basis of the works is historical events, interspersed with “fabulous legends” and decorated with “extravagance”. The reason for Dahl’s appeal to oriental themes is banally simple: it is impermissible not to know and it is shameful to neglect the literature of the Asian peoples of the Russian Empire.

Abstract“Bulgaria on three seas” is a commonly used phrase in Bulgaria. It is used on national celebration days, around government election days, in populist campaigns, on TV shows, on social media, at folkloric concerts and gatherings and in simple everyday conversations. The phrase signifies a specific golden century of Bulgarian history characterized by the fact that Bulgaria reaches the Black, White and Adriatic seas. Today, the phrase is regularly used by Bulgarians when they talk about their country. This glorious time is also used as part of the political and public rhetoric where ideology has nationalistic character. It is present during political public debates about the country's reactions to both its past and its future. The phrase “Bulgaria on three seas” lifts the national spirit during moments of struggle. And all that raises questions about why Bulgarians constantly refer to this part of their history and what this regressive behavior demonstrates. This article aims to provide a psychological explanation, combining the concepts of regression (going back to the past), denial of the present and national inferiority complex (perceived helplessness and weakness) in order to analyze how a nation could respond to its own feelings of national group inferiority. It explains how regression is a response to one's own feelings of inferiority and it contributes to the studies of large‐group psychology established by Vamik Volkan by offering an alternative explanation. The work demonstrates that regression is the Bulgarian way of dealing with its own inferiority complexes when in denial about what is happening in the present. This takes place when group identity (or an aspect of it) is questioned. The article also provides a pathway to further exploration of how other nations deal with similar experiences.

The article is dedicated to actual problems of the linguistic personality in modern linguistics. It reveals the scientific content of the notion of linguistic personality as an object of linguistic research, which includes mental, social, ethnic, and other components of the discourse. The object of the research is the linguistic personality of Dmytro Yavornytsky – an outstanding scientist, social and cultural activist, writer, historian, folklorist, and lexicographer. The article explores language means, which determine the artistic individuality of D. Yavornytsky. Author’s worldview and values found their expression in the language of his works. The analysis of literary texts revealed that D. Yavornytsky aestheticized the folk spoken element. The writer widely uses everyday vocabulary, designating the realia of folk life, which alongside with the stylistically marked vocabulary of various degree of expressiveness displays the linguistic colouring of the epoch. In addition, the colloquial vocabulary is used as an expressive element. The work features the analysis of phraseological units of D. Yavornytsky’s literary texts – both traditional and modified by author. In is noted that the choice of phraseological units is determined by the subject matter of the creation. D. Yavornytsky was the adherent of ethnography, which is the reason for prevailing of fixed phrases from the colloquial language in his works. The national character of D. Yavornytsky’s works is reflected in the means of folk songs – an expressive feature of writer’s idiostyle. Proverbs, sayings, ubiquitous epithets, metaphors, similes, and other stylistic figures are means of stylization of folk-poetic narration. One of the brightest figurative units of D. Yavornytsky’s idiostyle, which is inseparably connected with ideological and thematic focus, is simile. The article features the research of individual constants of the worldview, values of the writer, and means of their linguistic expression. The most semantically and aesthetically significant words of his linguistic picture of the world are Cossack, steppe, song, Dnipro, Ukraine, Khortytsya, Baida, soul, heart.

This paper investigates the intricate relationship between ecology and culture as depicted in Bibhutibhushan Bandyopadhyay's novel Of the Forest (Aranyak). It looks at how common situations and human social orders are profoundly interconnected, with social character and conventional structure of tribal and rustic communities formed by the forest. The novel depicts the forest not simply as a scenery but as an imperative, living substance that impacts the social, spiritual, and economic lives of the individuals occupying it. This consider uncovers how social structure, such as customs, legends, and jobs like chasing and horticulture, are closely connected to the rhythms of the forest. Through an ecocritical focal point, this paper investigates how the novel highlights the indigenous communities’ ecological information and maintainable structure. These communities don't see the forest just as a asset, but as a sacrosanct space necessarily to their social and spiritual personalities. Their customs, folklores, agricultural structure, and livelihoods—whether chasing, gathering, or farming are molded by the common rhythms of the forest. The novel portrays their relationship with land isn't fair financial, but profoundly social, fortifying a holistic approach where nature and culture are indivisible. The paper moreover digs into how Bandyopadhyay employs the novel to regret the loss of both environmental and cultural differences. As the forest destroyed, the conventional ways of life tied to it, driving to the fragmentation of the communities and havoc of cultural habits established in environmental settings. This demolition is depicted as a catastrophe of both the natural world and the human soul. The novel also studies the capitalist ethos that prioritizes economic advancement at the cost of ecological sustainability, addressing the menacing effect of modernization on both nature and innate culture. The article concludes by examining how Bandyopadhyay’s forest imagery transcends simple environmental imagery and transforms it into a symbol of cultural and environmental tolerance. The forest gets to be a location of social resistance to advancement of modernity, encapsulating a space where innate knowledge and practices proceed to offer an alternative to the destructive impact of modernization. The paper calls for a deeper understanding of the relationship between people and their environment, and calls for a return to a better relationship with nature.

Abstract. The article is devoted to the research of linguodidactic potential of counting-out rhymes in classes of Ukrainian as a foreign language. Now there are many works in Ukrainian methodology of teaching language to foreign students concerning the formation of a set of texts for studying purposes. The authors of selected scientific articles suggest including folklore texts (fairy tales, songs, legends, proverbs and sayings, tongue twisters) in the teaching of the Ukrainian language. The aim of our article is to explore the place and role of the counting-out rhyme as a supplementary text for foreign students of beginner level. For this purpose, we describe the definition of the term «counting-out rhyme», define the linguistic and methodological criteria for selecting texts and how they should be presented to foreign audiences. Results of the research. The counting-out rhyme is a genre of children's playful folklore, a small-form poetic text with a clear rhyme-rhythmic structure. For to study Ukrainian as a foreign language at the beginning stage not all the texts of counting-out rhymes are suitable, but only those that folklorist G. Vinogradov called «chislovka» or «proper chislovka". This type of counting-out rhymes have cardinal numbers and ordinal numbers as a part of their structure. We consider that the main criteria for selecting and presenting texts of this genre as educational units should be: 1) a simple structure, clear and understandable content of the text; 2) the common vocabulary of counting-out rhymes, which corresponds as much as possible to communicative topics and grammatical material of the beginner level of Ukrainian language learning; 3) the texts of the counting rhymes should be chosen with the aim of practising certain speech skills and abilities; 4) limited amount of the material. In classes with foreign students, we primarily use counting-out rhymes to introduce the category of numerals and to teach counting. Children's folklore play texts act as very important supplementary linguistic material. Rational, accurate counting (mostly from one to ten) and the rhythm and rhythmics of the short poetic text help a foreign student to learn to count in Ukrainian quickly and easily. In addition, the expressive reading of counting-out rhymes helps to improve the phonetic aspect of foreign language speech - clear pronunciation of separate sounds, intonation, accents, training of rhythm, speed of speech. Working with the texts of counting-out rhymes in UFL classes also actualises word meanings within the boundaries of communicative topics of the first year of language learning, enriches vocabulary, and optimises the rapid memorisation of typical lexical-grammatical constructions with their subsequent inclusion in the active vocabulary. Moreover, tasks with counting-out rhymes engage an element of a game in the learning process, making the lesson more exciting and interesting. Conclusions. The results of the analysis show that the counting-out rhymes have linguodidactic potential and can be used as supplementary teaching material in UFL classes (beginner level).