Siga este link para ver outros tipos de publicações sobre o tema: Epic.
Artigos de revistas sobre o tema "Epic"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Epic".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Eshonkulov, Jabbor. "About "Rustamkhan" Series". International Journal of Social Science Research and Review 5, n.º 5 (30 de abril de 2022): 300–306. http://dx.doi.org/10.47814/ijssrr.v5i5.326.
Texto completo da fonteResumo:
The Rustamkhan series plays an important role in Uzbek epic poetry. This series includes such epics as "Rustamkhan", "Murodkhan", "Oftob pari". To date, two epics of the series - "Rusmtkhon" and "Muradkhan" have arrived. There is one version of the epic "Murodkhan", many variants of the epic "Rustamkhan". This article examines the peculiarities of the series "Rustamkhan", its role in the art of epic poetry. Different variants of the epic "Rustamkhan", their manuscript versions, the differences between the variants were analyzed, issues related to the emergence, development and survival of epic traditions, changes in the publication of folk epics were discussed.
2
ASLAN, Zeynep. "The Issue of Historical Epics in The Classification of Kazakh Epics". Akademik Dil ve Edebiyat Dergisi 6, n.º 2 (30 de agosto de 2022): 0. http://dx.doi.org/10.34083/akaded.1143102.
Texto completo da fonteResumo:
Epics have a major role in pre-written culture areas where history education is ensured by oral narratives As it is known, a poem or a ballad formed as a result of an event affecting all or a part of a nation constitutes the first phase of the epic. This poem spreads from language to language, expands over time with poems related to other events, and takes the form of an epic by being edited by an epic writer. In this context, epics are not independent of history. however every epic does not exactly coincide with historical facts. It is normal for a narrative that has lived in oral culture for centuries to drift away from reality. The epics, which are closely related to history, are called historical epics. In the classification of Kazakh epics according to their subjects, the issue of whether historical epics should be evaluated as a separate epic type or within the epics of heroic draws attention. While some of the researchers do not accept that there is a separate group called Kazakh historical epics, some of them think that Kazakh historical epics are a separate group or a separate type of epic by revealing their differences from the epics of heroic. In this study the concept of historical epic and the basic features of historical epics in the context of Kazakh epic tradition are discussed, the views on historical epics were put forward and the issue was approached was evaluated and the approaches of the researchers to the issue were evaluated by putting forward the opinions about the historical epics. In the conclusion part, determinations about historical epics are given.
3
Chao, Г. "ORAL EPIC TRADITIONS IN CHINA". Эпосоведение, n.º 1(1) (29 de novembro de 2017): 58–61. http://dx.doi.org/10.25587/svfu.2017.1.8090.
Texto completo da fonteResumo:
There have been rich oral epic traditions in China from the remote past, disseminated among ethnic minority peoples, with three dominant types, namely, heroic epics, creation epics, and origin epics. Scholarly works in epic studies can be traced back to a few centuries ago, with both foreign and domestic scholars’ involvement. Over the past two decades, a new paradigm in epic studies has been shifting from mainly literary concerns towards folkloristic researches in many directions, labelled by some scholars as a “paradigm shift of epic studies”
4
M, Radha. "The Epic Tradition in the Song Natrinai". International Research Journal of Tamil 4, S-13 (21 de novembro de 2022): 249–55. http://dx.doi.org/10.34256/irjt224s1336.
Texto completo da fonteResumo:
The reason for the pride and richness of a language is due to the grammar and literature that have emerged in the eyes of that language. The epics occupy a significant place in those verses. Homer's Iliad and Odyssey, considered to be the oldest epics in the world, have also been written in accordance with the epic tradition of that language. Indian language epics are also written within the epic tradition of the regional languages. These include the five great and minor epics that have appeared in the Tamil language; the Kamba Ramayanam, the Periyapuranam, etc. However, if we examine whether the Sangam literature, viz., the songs and the thokai, falls within the epic tradition, the Agam and Puram songs contain at least a few of the epic traditions of the Dandiya author. It can be seen that the majority of the epic elements have been matched in the Kalitthokai and the Pathuppaattu Songs. This study is intended to examine how the epic traditions have adapted to the song that has been taken up for the subject matter of the study. In particular, this study has revealed whether the epic grammar of the Dandiya author has been followed.
5
Ahmed, Amr Abdel Monim. "Flavian Epic Poetry". British Journal of Translation, Linguistics and Literature 3, n.º 3 (30 de setembro de 2023): 64–76. http://dx.doi.org/10.54848/bjtll.v3i3.69.
Texto completo da fonteResumo:
Flavian Epic Poetry is considered one of the most important literary works that distinguished the period of the rule of the Roman emperors from the time of Vespasian to Domitian. Flavian epic poetry was named after the Emperor Vespasian, which indicates that most of the epic works were organized to glorify the emperors and celebrate their military victories. This flattery is considered to be a famous characteristic of the style of that period. Among the most famous poets who wrote epic works in this era were Valerius Flaccus, Papenius Statius, and Silius Italicus. Each of them composed a number of epics similar to the Greek epics for the sake of imitating their precious treasures, like Argonautica, who was imitated by Valerius, the Thebaid by Statius, and the Punica by Italicus. Flavian epic poetry was characterized by exaggeration, especially regarding the description of events and the use of gods who intervene in the course of things in order to achieve their benefits. The heroic nature that the epics aimed to highlight is also evident in epic poetry.
6
Orozbek kyzy, Elnura. "THE MYTHO-EPIC IMAGES IN THE “SEITEK” EPIC". Alatoo Academic Studies 24, n.º 2 (30 de agosto de 2024): 171–81. http://dx.doi.org/10.17015/aas.2024.242.14.
Texto completo da fonteResumo:
The article is dedicated to the exploration of the mythical and epic images in the epic “Seytek,” which is the final chapter of the “Manas” trilogy. This epic is the most extensive and artistically refined piece of folk epic heritage. The Kyrgyz people can rightfully be proud of the richness and diversity of their oral poetic traditions. The epic “Seytek” is composed of a collection of mythological and epic images, including characters and narratives from various folklore traditions, such as those of the Scandinavians, Central European peoples, and others spanning from the west to the east and from the north to the south. It incorporates elements starting from ancient Greek folklore and extending across the literature of various cultures, containing valuable information about mythical and epic figures. The scientific article specifically notes that the Kyrgyz people are rich in heroic epics. The role of mythology in the development of world literature is invaluable. It is clear that the mysteries of natural phenomena and various amazing forces invented by people are best described in epic works. It is worth especially noting that the epics introduce the reader to the concept of the ideal, the way of life of the ancestors and create the opportunity to appreciate them.
7
Basirizadeh, Fatemeh Sadat, Narges Raoufzadeh e Shiva Zaheri Birgani. "The Image of Women in Eastern and Western Epic literature: Shahnameh and Odyssey". Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, n.º 2 (8 de maio de 2020): 768–76. http://dx.doi.org/10.33258/birci.v3i2.889.
Texto completo da fonteResumo:
The research examines two epics, one from the East and one from the West with regards to the question of woman and her images in early epic literature. The epics were selected from the literature. The epics were selected from the literature of two cultures, both of which, in different historical periods produced the most advanced civilizations of their time. The Persian epic, The Shahnameh (the book of Kings) was tooted in the ancient Indo-Iranian pagan as well as Zoroastrian traditions, an epic of approximately 60,000 couplets rewritten in the tenth century A. D. in the final, completed from which has reached us today. The Greek exemplar was the odyssey of Homer, epic with which Greek literature begins and widely influences not only the later periods of Greek literature but also the entire Western literature; this epic is also widely known in the East. Central to our study of The Shahnameh and Homeric epics were the themes of dynamism, the individuality of characters and their struggles in the epic world, the resourcefulness of the human mind ascribed to them, the subject of human crises, and irony, all of which are deep-seated components marking the central literary qualities of these epics. Women are indispensable in the early epics of both traditions and more often than not highly regarded by epic heroes in general and the narrators of the stories in particular. In both Eastern and Western example the structure split the female image in two opposite directions: one force is represented by exalted, praiseworthy, and positive images which also endow the women of The Shahnameh and the Homeric poems with powerful characteristics.
8
RUIJGH, CORNELIS J. "The source and the structure of Homer's epic poetry". European Review 12, n.º 4 (outubro de 2004): 527–42. http://dx.doi.org/10.1017/s1062798704000456.
Texto completo da fonteResumo:
Homer's Iliad and Odyssey were created, probably in the second half of the 9th century BC, in the framework of the Greek epic tradition of oral formulaic poetry, which started in the Peloponnese in proto-Mycenaean times (c. 1600 BC). The epic verse, the dactylic hexameter, must have been taken over from the Minoan Cretans. Whereas most 19th century scholars were analysts, considering Homer's epics' conflations of older and more recent epic poems, most modern scholars are unitarians, recognizing the unity of both epics, thanks to modern insights in the nature of oral traditional poetry and to modern narratology. Although many modern scholars ascribe the Odyssey to a later poet than that of the Iliad, there are no convincing arguments against the Ancients' opinion that both epics are the work of one single poet called Homer. Both Iliad and Odyssey are characterized by the principle of ‘unity of action’, a principle not found in other ancient epic poetry. There are reasons to suppose that Homer learnt the art of epic versification in Smyrna, his native city, by listening to performances of Aeolic singers. Driven by Ionic self-consciousness he transposed the epic Aeolic Kunstsprache into Ionic, thus creating the so-called Homeric dialect. He could perform his monumental epics at great religious festivals and at the courts of princes. There is evidence that he gave performances in the island of Euboea, the only prosperous region of the contemporary Greek world, and that there his epics were eventually written down. Thus, Homer's epics are the end-point of the oral epic tradition and the starting point of written Greek and European literature.
9
Ivanova, Tat’iana Grigor’evna. "ROSTOV-SUZDAL LAND IN EPICS AND ITS CONTRIBUTION TO THE EMERGENCE OF THE EPIC TRADITION". Russkaya literatura 4 (2023): 111–29. http://dx.doi.org/10.31860/0131-6095-2023-4-111-129.
Texto completo da fonteResumo:
The epic tradition of the Rostov-Suzdal-Vladimir lands is considered in the light of the thesis concerning the «maternal», «colonial», «regional» and «local» metropolises of the formation of epics. Even though only fragments of the epic tradition have been recorded in the area, Vladimir Region was one of those territories where epics were originally shaped. Scarce mentions of Rostov and traces of Suzdal in the epic texts are analyzed. An overview of the few records of epics made in the Vladimir Region is provided.
10
Mirzaev, Jonmirza Nematovich. "Artistic Depiction Of The Image Of Avaz In The Epics “Gorogly”". American Journal of Social Science and Education Innovations 2, n.º 09 (10 de setembro de 2020): 41–46. http://dx.doi.org/10.37547/tajssei/volume02issue09-07.
Texto completo da fonteResumo:
This article deals with the artistic image of the image of Avaz in the epics “Gorogly”. The epic “Gorogly” is one of the most popular folk epics not only among the Uzbek and fraternal Turkic peoples, but also among the peoples of the East. There are different series of epics, among which are the epics associated with the image of Avaz. There is much in common between the Uzbek and Tajik versions of the epic Gorogly, and this similarity is manifested primarily in artistic images, in their artistic image.
In this article, which analyzes the Uzbek and Tajik versions of the epic “Gorogly”, the issues of artistic representation of the image of Avaz are covered in detail, and we see that the means of artistic representation in the epic are based on the psyche, mythological imagination and aesthetic attitude to reality.
11
Koryakina, Antonina. "Epic Traditions of the Yakut and Shor Peoples: Paralleled Motifs Reviewed". Бюллетень Калмыцкого научного центра Российской академии наук 2, n.º 22 (17 de outubro de 2022): 144–61. http://dx.doi.org/10.22162/2587-6503-2022-2-22-144-161.
Texto completo da fonteResumo:
Introduction. The study examines some identified typological ties between the Yakut heroic epic and epic traditions of the Shor people. The research results obtained through the involvement of extensive comparative materials can essentially facilitate further scientific insights aimed at clarifying the role of Turkic epics in the shaping and development of the Yakut epic tradition, determining the bulk of motifs typical for both the Yakut and Shor epic narratives. Goals. The article aims at delineating similarities and differences inherent to plot motifs of the Yakut and Shor epics. Materials and methods. The work employs a number of research methods, such as the comparative historical, structural/typological, and comparative/descriptive ones to analyze classic texts of Yakut and Shor epic heritage. Results. The paper concludes the Shor epic tradition contains no canonical themes characteristic of Yakut heroic tales, such as peopling of the Middle World by future defenders, peopling of the Middle World by the rejected destined to become heroes of the future, emergence of earliest people in the Middle World — which indicates the epic 146tradition of the Shor people had been evolving individually after its separation from the Turko-Mongolian world. The revealed stable motifs traced in both the epics are as follows: ‘time of the first creation’, ‘land of the hero’, ‘appanages of the hero’, ‘house of the hero’, ‘hitching post’, ‘world tree’, etc.
12
Kuzmina, Evgeniya N. "Poetics of the Buryat epics at the decline stage of the epic tradition". Sibirskiy filologicheskiy zhurnal, n.º 4 (2022): 9–20. http://dx.doi.org/10.17223/18137083/81/1.
Texto completo da fonteResumo:
The paper addresses the preservation of the epic tradition and the relationship between the plots and “common places” (loci communes) based on heroic epics (üligers) performed by B. Barnakov in 1961-1962 and recorded on a magnetic tape. At that time, Buryat scholars witnessed a decline of the heroic epic genre. However, owing to the storytelling gift and memory of üligershin B. Barnakov, the tales in his performance feature a variety of plots and stability of typical places. The analysis of poetic and stylistic means has shown the narrator’s knowledge of the epic fund of stereotypes and laws of plot construction of the heroic epic. He used a variety of general epic and situational typical places, characteristic of the Western Buryat epic tradition. Of importance is the interdependence of internal connection between typical places and plots. The decline of the heroic epic genre was manifested in the plot development of some epics, resulting in incomplete endings and confusion in the names of secondary characters. It should be noted that typical places and stable poetic phrases are of great functional importance in the plot construction of the heroic epic and in the preservation of the epic tradition. In Siberian epic studies, there are still topical issues to be explored in depth, such as correlation of plot and motif, plot and stereotypes, including “common places”. Studying these issues will contribute to identifying the factors of sustainability over time of the epic tradition, narrative memory, and the role of the fund of poetic means.
13
Burgoyne, Robert. "Color in the Epic Film: Alexander and Hero1". Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 1, n.º 2 (25 de julho de 2016): 26. http://dx.doi.org/10.22475/rebeca.v1n2.282.
Texto completo da fonteResumo:
A key feature of the epic genre since the appearance of the tinted and stenciled Italian epics of the 1910’s, color technology and design constitutes a direct line of formal innovation that extends from the earliest iterations of the epic film to the exalted color symphonies of the present. The significance of color in the epic, however, has largely been ignored. In this essay, I argue that color design complicates the traditional understanding of epic form as a conservative, nation-centric genre, governed by what Gilles Deleuze calls a critical-ethical horizon. The recent epics Alexander and Hero provide a case in point: in each film, color design articulates a range of messages that provide a new way of understanding these works, and that illuminate the use of color in the long history of the epic genre.2
14
Reichl, Karl. "The search for origins". Journal of Historical Pragmatics 4, n.º 2 (6 de junho de 2003): 249–67. http://dx.doi.org/10.1075/jhp.4.2.06rei.
Texto completo da fonteResumo:
Although in some traditions (notably in India) oral epics are performed as part of a religious ritual, there is no overt ritual function of the epic in most oral traditions known today. However, even in a purely secular and seemingly non-ritual context, the performance of oral epics can have ritual dimensions. This is discussed with reference to the oral epic poetry of the Turkic peoples of Central Asia. It is argued that the performance of oral epics is a particular type of communicative event, of which the comparatively rigid act sequence can be seen as being on a par with the patterning of ritual. A second important aspect linking epic performance to ritual is that both events are meaningful in a similar way. It can be shown that in the performance of heroic epics tribal and cultural origins are explored and that hence the primary function of epic is not entertainment but the search for ethnic and cultural identity.
15
Mironov, Arsenii. "“Insignificant” characters: on the one peculiarity of Russian epic concept of heroism". Филология: научные исследования, n.º 1 (janeiro de 2020): 72–82. http://dx.doi.org/10.7256/2454-0749.2020.1.32176.
Texto completo da fonteResumo:
The subject of this research is the concept of heroism (bogatyrs) as an element of Russian epic mentality. The focus of attention is the peculiarities of epic understanding of bogatyr power that excludes the interpretation by an epic bard of “his” character as a giant. Meanwhile, the popular in science representation of particular characters of the Russian Epos (Svyatogor, Mikula Selyaninovich, Ilya Muromets) as giants is caused by their idealization, convergence of an epic with a tale or myth, as well as readiness to proliferate upon epics such laws of poetics that are considered universal from the perspective of ethnographic theory and strive of the scholars of mythological school to distinguish in epic heroes the characters of the ancient religious systems. Based on the analysis of epic records, the author demonstrates that the bogatyrs are not giant, but rather look as regular people. Special attention is given to the adjustment of a receptive stereotype, associated with perception of the epic image of Svyatogor, caused by a distorted interpretation of this image by illustrators of the epics in the XIX century.
16
Narzikulova, Manzura. "Folklore Motifs In Alisher Navoi’s Epic “Sabai Sayyar". American Journal of Social Science and Education Innovations 03, n.º 06 (30 de junho de 2021): 249–57. http://dx.doi.org/10.37547/tajssei/volume03issue06-42.
Texto completo da fonteResumo:
The article deals with the traditions of folklore in the works of Alisher Navoi, the role of mythology and folk art in the epic “Sabai Sayyar”, the plot of the epic in folklore, the connection of the main motives with folklore; folklore traditions in the interpretation of the composition and image system of the epic “Sabai Sayyar”; the sources of the plot of the epic “Sabai Sayyar” in the folklore of the peoples of the East and the artistic evolution of the epic plot are analyzed. The plot of the epic “Sabai Sayyar” is clarified in connection with the traditions of Uzbek folk epics.
17
Bekoev, Vladimir I. "The study of the epics of the Novgorod cycle in the lessons of Russian literature in high school". Vestnik of North-Ossetian State University, n.º 3(2021) (25 de setembro de 2021): 60–69. http://dx.doi.org/10.29025/1994-7720-2021-3-60-69.
Texto completo da fonteResumo:
In the context of improving school literary education at the present stage, it is of great importance to familiarize students with the spiritual values of world and domestic literature and folklore. In this connection, the study of the epic epos in the school course of literary education is very important. In it, the Russian people poetically correctly portrayed the heroic story of their life, expressed their aspirations, thoughts and hopes, worldly wisdom. Considering the enormous educational and upbringing significance of the epic epos, in the article the author provides methods and techniques tested in the real pedagogical process that contribute to the creative perception of epics, taking into account their genre specificity, the originality of artistic and poetic structures. The ways and methods of work recommended in the article are built taking into account the requirements of modern educational technologies and implemented on the example of studying the epic “Volga and Mikula Selyaninovich”. The author devotes 2 hours to study the epics of the Novgorod cycle. In this regard, the article provides a methodological system of the teacher’s work with a detailed description of the stages of each lesson. The first lesson is devoted to solving the following tasks: to expand the students’ ideas about the epic epic; to determine the thematic difference between Novgorod epics and Kiev ones; to give an overview of the content of the epics about Sadko and Vasily Buslaev. In the process of presenting the material, the teacher widely draws on the texts of the named epics. The second lesson is devoted to the textual study of the epic “Volga and Mikula”. In his introductory remarks, the teacher talks about the time of the formation of the epic, about the problems that worried the people. The lesson ends with work on artistic and poetic means, the originality of epic vocabulary. The relevance of the problem under study is due to the lack of a well-thought-out system for modeling lessons for the study of epics using information technology. The scientific novelty of the work lies in the fact that in it this problem is subjected to methodological comprehension, taking into account the requirements of modern educational technologies.
18
MANDZHIEVA, Bayrta. "Epic motifs of the Mongol-Oirat epic story of Parchen and their parallels in the national versions of Dzhangar epic". Epic studies 4, n.º 36 (29 de dezembro de 2024): 27–37. https://doi.org/10.25587/2782-4861-2024-4-27-37.
Texto completo da fonteResumo:
The article is devoted to the consideration of epic motifs of the Mongol-Oirat epic of the epicteller Parchen. The relevance of the study is due to the fact that, despite the wide coverage of the range of problems of the epic of the Mongolian peoples, the issues of studying the motifs of the Mongol-Oirat epic tradition still remain insufficiently studied. The novelty of the study lies in the consideration of the epic motifs of the Mongol-Oirat heroic epic in a comparative aspect with the national versions of the Dzhangar epic. The purpose of this article is to consider the epic motifs of the heroic poems of the Mongol-Oirat epic of the epicteller Parchen, which were recorded, translated into Russian and published by Boris Vladimirtsov. The objectives of the study are to characterize the epic repertoire of the epicteller Parchen, to identify epic motifs in the Mongol-Oirat heroic epic and to consider them in a comparative aspect in the Xinjiang-Oirat and Kalmyk traditions of the Dzhangar epic. The work uses descriptive, comparative and contrastive methods, and textual analysis methods are used in the study of epic texts. The material of the study is the texts of the Oirat epics: Bum-Erdeni, Daini-Kuryul, Kigiin-Kiytyun-Keke-Temur-Zeve, Egil-Mergen, Ergil-Tyurgul, Shara-Bodon, the texts of the epic songs of the Xinjiang Oirat version of Dzhangar, published in China in 1986–2000, translated into the modern Kalmyk language by the orientalist Bulyash Todaeva, as well as the texts of the Kalmyk version of Dzhangar. The examination of the epic motifs of the Mongol-Oirat epics showed that in the process of historical development of peoples from the patriarchal-clan to the feudal system, archaic motifs (the motif of the first creation, miraculous birth, naming, the destined bride, the “external soul”, “difficult tasks”, three competitions, etc.) were transformed and inherited by the heroic Dzhangar epic. The motif of the first creation, present in the Mongol-Oirat epic Egil-Mergen in the Xinjiang-Oirat version of Dzhangar depicts the mythological early time, which passes to a hierarchically higher level, receiving the status of the original water chaos. The image of this chaos, taking an intermediate form, opens the next phase of the existence of the universe. The motif of naming, being an important component of the epic biography of the hero, is accompanied by a ritual in the Turkic-Mongolian epic, and in the national versions of Dzhangar – by a yoryal-good wish, which is a magical blessing and a prediction of the future heroic path of the hero. The miraculously born hero of the Oirat epics, performing heroic deeds in the interests of his family, in the national versions of Dzhangar is transformed into the heir of the epic ruler, a member of the family of heroes, the first among equals (Dzhangar-bogdo) in selfless service to the fatherland – the Bombay state. The study of the epic of the Mongolian peoples in this direction seems promising for further research into the problems of epictelling, motifs, poetics and style of folklore text.
19
Thi, Hue Hoang, e Dung Nguyen Tien. "Similarities and Differences of the Dam Giong Epics (Vietnam) and Reamker (Cambodia), Ramakien (Thailand), PhraLakPhra Lam (Laos) (Note 1)". Global Research in Higher Education 1, n.º 2 (12 de setembro de 2018): 132. http://dx.doi.org/10.22158/grhe.v1n2p132.
Texto completo da fonteResumo:
<em>There are a lot of similarities and differences in The Dam Giong epics of Bahnar ethnic in Central Highlands-Vietnam and Reamkerepic (Cambodia), Ramakien epic (Thailand) and PhraLakPhra Lam epic (Laos). Although there are some similarities in content and themes, these epics differ in capacity, structure, character system and some other artistic elements. Reamker, Ramakien, PhraLakPhra Lam are short independent epics, deriving from Ramayana epic (Indian). Meanwhile, The Dam Giong epics, about a hero named Giong, have a large capacity of hundreds of epics. These epics derive from myths, legends and creeds of Bahnar ethnic in the Central Highlands-Vietnam, especially, they are “living” epics. Nowadays, the epics of Dam Giong are still being circulated and they are developing in the lives of Bahnar ethnic. Currently, in Central Highlands-Vietnam, the epics of Dam Giong are still composed and the number of these epics is constantly increasing.</em>
20
Zaiyrkulova, Rima. "COMPARATIVE STUDY OF THE EPIC "MANAS" AND THE EPIC "MAHABHARATA" IN MEDICAL UNIVERSITIES". Alatoo Academic Studies 22, n.º 3 (30 de setembro de 2022): 99–109. http://dx.doi.org/10.17015/aas.2022.223.12.
Texto completo da fonteResumo:
The article deals with the problems of comparing the epic "Manas" with the epic "Mahabharata" in medical universities in the discipline "Manas Studies". Compulsory discipline is taught in higher educational institutions. Due to the growing number of young people from the Republic of India studying in medical schools, it is necessary to find ways to compare the epic "Mahabharata" and the epic "Manas" in order to ensure more effective teaching of the discipline "Manas Studies". The comparative study of epics on the world stage plays an effective role in the development of foreign medical students, first as individuals, and then as doctors, by studying the similarities and differences between the epics of the two peoples through the prism of history, literature, traditions, culture and religion.
21
Mironov, Arseny. "VALUE OF ACTIVE COMPASSION IN THE HEROIC EPIC: RUSSIAN EPIC CONCEPT". Проблемы исторической поэтики 19, n.º 2 (maio de 2021): 7–32. http://dx.doi.org/10.15393/j9.art.2021.8842.
Texto completo da fonteResumo:
The article uses the comparative historical method to analyze epic folklore from around the world with regard to the functioning of the concept of active compassion. Proceeding from extensive factual material, the author demonstrates that different national and civilizational traditions imply various interpretations of this concept. While The Epic of Gilgamesh, Homer’s Iliad, and medieval Western European epic songs don’t treat mercy as an axiologically important principle, the folk epics created by the Orthodox peoples maintain its value in accordance with the Christian ideal of sacrificial love. This interpretation is clearly presented in the Byzantine epic poem Digenes Akritas, in Serbian heroic songs, and, especially, in Russian bylinas, where one of the main heroes, Ilya Muromets, is very often motivated precisely by compassion. The author’s observations suggest that the concept of mercy, organically inherent in Russian folk epics, influenced the subsequent literary tradition as well, being reflected, for instance, in the poetics of the Russian psychological novel.
22
Khasanova, Shafoat. "Stories of Alisher Navoi and Rizoi Payvandi (On the Example of “Lison ut-tayr” and “Qush Tili” (The Language of Birds))". International Journal of Early Childhood Special Education 14, n.º 1 (31 de março de 2022): 1321–25. http://dx.doi.org/10.9756/int-jecse/v14i1.221151.
Texto completo da fonteResumo:
In Uzbek literature, the study of epics of the genre “Mantiq ut-tayr” is associated with the study of Alisher Navoi’s epic “Lison ut-tayr” and has always been in the spotlight of experts. Mawlana Khoja Qazi Payvandi Rizoi (XVIII acp) was another writer who wrote in Turkish on the theme “Mantiq ut-tayr”. The only manuscript of the epic “Qush tili”(The Language of Birds) created by him is kept in the fund of the State Museum of Literature named after Alisher Navoi under inventory number 127. Rizoi Payvandi used the works of Jalaliddin Rumi, Fariduddin Attor, Abdurahman Jami in the creation of this epic, as well as carefully studied Alisher Navoi’s epic “Lison ut-tayr”. Because the comparison of Rizoi’s epic with Alisher Navoi’s work shows that in the plot of a number of stories in both epics we see the closeness to each other and in most places the artistic interpretation of the same story, which is characteristic of both creators.
23
Jacquesson, Svetlana. "From Folk Epics to Epic Monuments: Studying and Publishing Epic Lore in the Soviet Union (1920s–1960s)". Journal of Central Asian History 1, n.º 1 (5 de maio de 2022): 100–129. http://dx.doi.org/10.1163/27728668-12340003.
Texto completo da fonteResumo:
Abstract In this article, I problematize the existing analyses of the 1952 conference on the Manas epic either as a salvage operation conducted by USSR Academy of Sciences or as a locally mounted defence in response to the party-led offensive against Turkic national epics. I argue that notwithstanding the efforts invested in the elaboration of a distinctively Soviet approach to the study of folklore – an approach of a Marxist-Leninist extraction articulated around the concept of “folkness” – in the case of epics the boundary between “folk” and “national” remained blurred and easily instrumentalized, both by the detractors of epic lore and by its defenders. Until the early 1950s this blurred boundary led to frequent and abrupt movements between celebrating epics and castigating them, movements that were as much contingent on USSR domestic policies as on its frantic desire to distance Soviet scholarly traditions from “bourgeois” science. I also posit that because of the uncertain boundary between “folk” and “national” and the propensity of these concepts to feed from and spill into politics and geopolitics, the “solution” to the 1952 crisis, pace Bennigsen (1975), could not have been political. Instead, the 1952 Manas conference helped save epic lore in the Soviet Union only to the extent that it triggered a series of follow-up events at which metropolitan scholars reconceptualised epic lore from folk epics that were crucial for the identity of Soviet nations and the vitality of their national literatures to “epic monuments” that were irreversibly consigned to the past. Such a reconceptualization helped solve some of the dilemmas pestering the work of epic scholars and reassert the renown of the Soviet Union as the land of epic treasure trove.
24
Sekito, Ralph Edward Paulo. "Tracing the Epic Tradition in The Fantaserye: GMA 7’s “Encantadia” As an Epic". Acuity: Journal of English Language Pedagogy, Literature and Culture 5, n.º 1 (15 de dezembro de 2019): 67–84. http://dx.doi.org/10.35974/acuity.v5i1.2165.
Texto completo da fonteResumo:
Popular culture is an emergent study compared to other disciplines. Studies on television as more than a means of entertainment are scarce. As such, this paper is an attempt to fill that dearth by looking into the fantaserye and its relationship with the traditional conventions of the epic. Through the theories on the conventions of the epic and the function of the epic hero propounded by Damiana Eugenio and Isagani Cruz respectively, the researcher looks into the possibility that the fantaserye is inspired from the traditional epic. John Fiske and John Hartley’s notion on television as today’s bard was also utilized in this study. The method used throughout the study is Content analysis.
Results show that the fantaserye and the folk epics have similar attributes such as having the epic hero, their travails and adventures, and their physical and moral transformations that embody the group’s beliefs, ideals, and aspirations, although one difference is that the folk epics are either chanted orally and or performed, while the fantaserye “Encantadia” is aired through the aid of the television. And lastly, some characters were inspired from traditional Filipino folk epics and neighboring countries.
To conclude, the fantaserye gets its materials and inspiration not only from mythological tales, but also from the folk epics, thus making oral literature survive in another form, but at the same time deviates from these inspirations which makes it a postmodern take of the traditional epic. This proves that the popular culture as a field of study that can be associated to other similar fields such as literary studies. Also, the folk epic did not die a natural death in the oral tradition; it adapted through a medium which is relevant and accessible to all: the television.
25
Porter, Andrew. "Homer and the Epic Cycle". Brill Research Perspectives in Classical Poetry 2, n.º 3 (3 de janeiro de 2022): 1–126. http://dx.doi.org/10.1163/25892649-12340005.
Texto completo da fonteResumo:
Abstract How can the ancient relationship between Homer and the Epic Cycle be recovered? Using findings from the most significant research in the field, many ancient and modern assumptions are questioned and alternative perspectives offered that are better aligned with ancient epic performance realities and modern epic studies. This volume addresses a number of related issues: the misrepresentation of Cyclic (and Homeric) epic by Aristotle and his inheritors (including the part played by mythographers like Proclus); the role of the epic singer, patron/collector, and scribe/poet in the formation of memorialized songs; the relevance of shared patterns and devices and of other traditional connections between ancient epics; and the distinct fates of Homeric (Iliad, Odyssey) and Cyclic epic. The volume provides new answers to an age-old problem.
26
Zayrkulova, Rima. "PROBLEMS OF COMPARATIVE TEACHING OF THE EPIC "MANAS" AND THE EPIC "MAHABHARATA" IN MEDICAL UNIVERSITIES". Alatoo Academic Studies 23, n.º 4 (30 de dezembro de 2023): 85–94. http://dx.doi.org/10.17015/aas.2023.234.09.
Texto completo da fonteResumo:
The article deals with the problems of comparative study of the epic "Manas" and the epic "Mahabharata" in higher medical educational institutions in the discipline "Manas studies". Regardless of the form of ownership, the discipline "Manas Studies" is taught in higher educational institutions. Due to the increase in the number of young people studying in medical educational institutions from the Republic of India, in order to ensure effective teaching of the discipline "Manas Studies", the comparative study of the epic "Mahabharata" and the epic "Manas" is relevant today. The comparative study of epics on the world stage plays an effective role in the development of foreign medical students, first as individuals, and then as doctors, by studying the similarities and differences between the epics of the two peoples through the prism of history, literature, traditions, culture and religion. Using historical, sociological, comparative and statistical methods of comparative teaching when teaching the discipline "Manas Studies" in higher educational institutions, comparing the epics "Manas" and "Mahabharata", we strive to preserve and transmit national values from generation to generation to students studying in the medical field.
27
T, Nagammal. "Beliefs found in Silappathikaaram". International Research Journal of Tamil 4, S-8 (21 de julho de 2022): 222–27. http://dx.doi.org/10.34256/irjt22s832.
Texto completo da fonteResumo:
The first epic to appear in Tamil was Silapathikaaram, composed by Ilangovadikal. It is an amalgamation of art, music, and drama. This is an epic that excels in language, content, literary style, and appreciation. Silapathikaaram is one of the twin epics that appeared in the second century AD. Faith is an expression of a person's inner feelings. Beliefs are created by people. The Epic explains what is happening in human life. Along with the mixture of fantasy, Silappathikaaram is an epic that embodies the epitome of human life. Beliefs are further developed by individual and community consciousness. Traditional beliefs are passed down from one generation to another over time. One of the hopes for human life can be said to be dreams. Beliefs have existed among people since ancient times. Every human being has different types of beliefs. Silapathikaaram is one of the best epics of femininity in the history of world literature. Beliefs influencing human life are also found in literature. The aim of this article is to examine the beliefs found in the first epic, Silapathikaaram.
28
Šemsović, Sead. "Alija Bojičić – Between Historical Ancestors and Epic Biography". Društvene i humanističke studije (Online) 7, n.º 3(20) (30 de outubro de 2022): 13–26. http://dx.doi.org/10.51558/2490-3647.2022.7.3.13.
Texto completo da fonteResumo:
The correlation between a person and a character has always attracted the attention of researchers in both oral and written literature. The main difference is that researchers of oral epics always undertook detailed searches for the historical figure based on which the epic hero was created, while the latter more often recognized the writer himself and his private life within his artistic fiction. Alija Bojičić represents one of the most important heroes of Bosniak oral epics, whose action will be in the border area of Bosnia and Dalmatia, and the poems in which he appears are often classified in the uskok/hajduk epic cycles. History has offered at least three historical figures who could have served the epic singer to create this character. It can certainly be said that the oldest historical ancestor had the greatest influence on the features and characteristics of this epic hero. So far, research into the relationship between personality and character in Bosniak oral epics has focused on Alija Đerzelez and Mujo Hrnjica, while Alija Bojičić remained on the sidelines.
29
M, Khosbayar. "Хорчины “Бодь галав хаан” туулийн судалгааны тойм". Монгол судлал 47, n.º 1 (20 de julho de 2024): 496–505. http://dx.doi.org/10.22353/ms20234741.
Texto completo da fonteResumo:
The horqin region is the centre of Mongolian Epics. Among the numerous epics to be found in the horqin region, there are twenty-four (eighteen main chapters and six sub-epics), sagas that are very unique in form and content. The first Chapter of this eighteen-chapter series will be the epic Bodhi Galab Khan. The epic poem “Bodhi Galab Khan” is called the First Galab or the First Galab by the horqin Mongolians. It is thought that after this first Galab, 18 more gala periods followed. The name of these periods include the second “Altan Galab Khan”, the third “King of Ultimate Heroes”, the fourth “Knig of the Golden Stone”, the seventeenth “Imaginary Heroes”, and the seventeenth “The King of the Golden Stone”. “The Hero of Dreams”, the 18th “The Blue Bull”. It will be Horqin people call these legends and epics “eighteen stories” or “eighteen strange stories”. The first two legends, “Bodhi Galab Khan” and “Altan Galab Khan”, are epic stories because they relate the origin of the world of Galab. In the epic poem “Bodhi Galab Khan”, “Bodhi Galab Khan” along with the stone forest, fights against the horned monster with the mad hero and extols the heroics of the final victory over the monster. In this paper, we are presenting for the first time how scholars at home and abroad have collated and analysed the epic “Bodhi Galab Khan” and how they have come to divergent conclusions.
30
Gohil, Namrata. "‘Research Prospects in the peripheral view of Kartika Nair’s epic Retelling ‘Until the Lions’- Echoes from the Mahabharata’". Vidhyayana 9, si1 (1 de dezembro de 2023): 38–48. http://dx.doi.org/10.58213/vidhyayana.v9isi1.1579.
Texto completo da fonteResumo:
Indian culture is based on two epics; The Ramayana and The Mahabharata. Every Hindu knows about these two epics, other religion people too. There is not any Hindu house which does not know and follow the rituals which are discussed in these two epics. The present generation takes interest to read Retellings of Indian myths which are written by the contemporary Indian English Writers. Indian women like to read Retellings of myths which are written by Indian women writers. Its reason is that it gives voice to marginalized women of the Indian myths. Females compare their unspeakable voice with the voice of marginalized women of the Indian myths which are discussed by Indian women writers through the retellings. This paper discusses the research prospects of one of the well-known epic retellings of Mahabharata Myth – ‘Until the Lions’. It is an experimental retelling of the epic Mahabharata; Karthika Nair writes poetry in the voices of those whose narratives remained untold. Through this epic, Nair attempts to conduct an “inquiry of power” through the eyes of those who do not possess it: most often, the women of the Mahabharata. The story of women we do not hear as much about who were either eulogized too much or were peripheral characters in the story or were powerless queens- Queen Satyavati, Yuyutsu’s Mother, Dushala, Kunti, Gandhari, Hidimbi are fascinating. This epic is the best example to get the knowledge about female experience through the female voice. The objective of this research paper is to discuss research prospects which are applicable to this epic of retelling by the researcher. The researcher applies the theory of feminism to discuss this epic of retelling. The research question is that; Is the peripheral view of Karthika Nair justified as the female voice of Female experience through this epic of Retelling?
31
Dzhapua, Zurab D. "THE CONTRIBUTION OF E. M. MELETINSKY TO THE CAUCASIAN EPOS STUDIES. ON THE 100TH ANNIVERSARY OF THE BIRTH OF THE SCHOLAR". Folklore: structure, typology, semiotics 3, n.º 4 (2020): 76–89. http://dx.doi.org/10.28995/2658-5294-2020-3-4-76-89.
Texto completo da fonteResumo:
The article analyses the contribution of Meletinsky to Caucasian epic studies. The role of Caucasian epic traditions in the study of the problem of the origins and the early forms of the epos is considered. A significant number of the comparative-typological studies of Meletinsky are based on the materials of mythoepic cultures of Caucasus mountain people. The scholar singled out the Caucasian epics, along with some other traditions, as the special early stage in the history of the epic. Meletinsky was one of the pioneers in the fundamental studies of the Caucasian Nart epics. Based on the analysis of materials available to him at that time, Meletinsky comes to the fundamental conclusions on the genre nature, national versions, images, subjects and motifs of the Nart epic. The scholar considered Sataney and Sasrykua to be the earliest characters in the epic, whose images clearly reflected the features of a cultural hero, especially in the close Abkhaz and Adyg versions. Furthermore, according to Meletinsky, the Transcaucasian legends about the chained heroes – Abkhaz Abryskil, Armenian Mger and Georgian Amiran – represent a kind of interweaving of mythological epic and heroic tales, in which the motives of cultural exploits are largely supplanted by episodes of the heroic struggle with Giants. In the studies of Meletinsky, the epic traditions of the people of the North Caucasus and Transcaucasia are subjected to the deepest analysis at a very high level of comparative studies.
32
Orozobekova, J. K. "The values of the warhorse suits and the epic tradition". Altaistics, n.º 4 (2 de janeiro de 2024): 75–82. http://dx.doi.org/10.25587/2782-662-2023-4-75-82.
Texto completo da fonteResumo:
In the scientific article “Meanings of war horse colours and epic tradition” the typological similarities of poetic description of heroic epics of Turkic-speaking peoples and Siberia formed in the context of the epic “Manas” are considered. The etymological meanings of war horse colours in the artistic structure of the epic “Manas” are also analysed. The epic “Manas” has brought to our days a whole range of images of horses, starting with fantastic mythological images of horses and ending with realistic ones. Descriptions of the horse’s colours, the peculiarities of its walking and running, its ability to understand not only the master’s orders but also its state of mind occupy a large place in the narrative. Each horse is endowed with a nickname, each is characterised by some qualities peculiar only to it. It is known that different time layers are present in the epic, and from this it is possible to reveal the images of the Tulpar in their stadial evolution, which makes it possible to consider their essence in hyperpolarity. In the epic “Manas” there are more than 150 names of war horses of different colours. The totality of artistic images of war horses depicted in the context of “myth and reality” as endowing them with wings, human speech, and the ability to transform through transformation into werewolves is a real cultural treasure of the epics and a subject of scientific interest of hundreds of researchers. In the process of evolution each national epic preserving the given properties of the archetype, at the same time transformed into the poetic image of horses some specific properties, developing and glorifying some special qualities inherent only to the given epic.
33
Čolaković, Zlatan. "Avdo Međedović’s Post-Traditional Epics and Their Relevance to Homeric Studies". Journal of Hellenic Studies 139 (4 de outubro de 2019): 1–48. http://dx.doi.org/10.1017/s0075426919000016.
Texto completo da fonteResumo:
Abstract[Milman Parry established first that Homeric poetry was traditional, based on his studies of its formulae and language, and then that it was oral, based on his experience of recording south Slavic epic; he likened the unusually long epics of Avdo Međedović to those of Homer. Albert Lord put the two concepts together, holding that both south Slavic epic and Homeric poetry were oral-traditional and that all oral epic poetry, including that of Međedović, is traditional. However, the author’s investigations into the Milman Parry Collection of Oral Literature and his personal experience of collecting epics in Montenegro in 1989 prove that this is incorrect. The poems of Avdo Međedović do not conform to traditional uses of language, theme and story-patterns, but offer something new, of which other traditional singers disapproved, as their recorded conversations demonstrate. Similarly, by analogy, the epics of Homer differed from the traditional poems of the Epic Cycle, exactly as Aristotle indicates in the Poetics. Hence neither Međedović nor, by analogy, Homer were fully traditional poets, although they were oral poets; instead, they deliberately adapted the tradition so that the old stories were mixed and matched into much lengthier and more complex epics, which should be called post-traditional.]
34
Savvinova, Gulnara E. "О поэтике олонхо «Нюргун Боотур Стремительный» П. А. Ойунского и тувинских героических эпосов". Oriental Studies 13, n.º 4 (25 de dezembro de 2020): 1155–66. http://dx.doi.org/10.22162/2619-0990-2020-50-4-1155-1166.
Texto completo da fonteResumo:
Introduction. The article provides a comparative analysis of artistic expressiveness means inherent to the Yakut Olonkho and Tuvan epics. The point is that poetics of the epic work Nurgun Bootur the Swift by P. A. Oyunsky recreated on the basis of folk tales has actually remained understudied, and this paper fills the gap. Goals. The work — as part of Yakut folklore studies — makes the first attempt to consider poetics and the system of artistic techniques of the Olonkho Nurgun Bootur the Swift in comparison to Tuvan heroic epics. Methods. The study employs a comprehensive approach that includes comparative historical and typological research methods. Results. The comparative analysis concludes that P. Oyunsky’s Nurgun Bootur the Swift is based on the principles of traditional folk epic, and reveals parallels to Tuvan heroic narratives. Special attention is paid to the means of artistic expression — hyperbole and comparison. There are functional semantic dependence and structural unity indicating a typological similarity of the epic works examined. The vivid language of Tuvan epic narratives and that of P. Oyunsky’s Olonkho are explicitly characterized by elements observed in heroic epic proper, and the poetic analysis shows the Yakut text is distinguished by artistic completeness. So, P. Oyunsky revived the Yakut heroic epic, enriched its conceptual/thematic essentials — to strengthen the unique poetic form.
35
Vassilkov, Y. V. "The Armenian Epic “Daredevils of Sassoun” and the Mahābhārata: Similarity of the Ethnographic Substratum". Archaeology, Ethnology & Anthropology of Eurasia 47, n.º 2 (26 de junho de 2019): 140–47. http://dx.doi.org/10.17746/1563-0110.2019.47.2.140-147.
Texto completo da fonteResumo:
The author summarizes the results of his search for parallels between the Armenian epic “Sasna cṙer” (“Daredevils of Sassoun”) and the Mahābhārata. The comparative study has revealed considerable similarity in the “ethnographic substratum” of both epics, particularly that relating to the archaic social organization mirrored by the epic. The earliest layer of both the Armenian and the Indian epics retains the memory of a rural, largely pastoral society, in which an important role was played by the fraternities of young warriors. In the Armenian epic, this is indicated by recurrent motifs such as the young heroes’ rampage followed by exile, the foundation of their own outpost in the backwoods, young male warriors’ fraternities, their defense of herds, warding off enemy attacks, battle frenzy (a common characteristic of all the Sasun heroes), their immutable tutor and leader (“uncle”) Keri Toros, allusions to orgiastic feasts, premarital freedom enjoyed by boys and girls, etc. In Armenians, these motifs were supported by the existence until the recent times of age sets, described by ethnographers. The comparative study of the Armenian epic reveals its hitherto unnoticed socio-historical aspects. Its wider use for studying other epic traditions (not only Indo-European but also those of other peoples inhabiting the Caucasus and the Eurasian steppes) will contribute to the comparative epic studies.
36
Tsagalis, Christos C. "Homer and the Cyclic Thebais". Yearbook of Ancient Greek Epic Online 8, n.º 1 (20 de novembro de 2024): 106–32. http://dx.doi.org/10.1163/24688487-00801006.
Texto completo da fonteResumo:
Abstract This article discusses several cases of phraseology shared by the Homeric epics and the Cyclic Thebais and explores three techniques (synergetic shaping, the interplay between analogy and difference, and metaphrasis) used for the construction of meaning. The diction employed by a post-Homeric epic such as the Thebais indicates that several individual expressions acquire an interpretive surplus when examined against the backdrop of the system of archaic Greek epic, a fundamental component of which is Homeric epic.
37
Yıldırım, S., e F. P. Kuzu. "The Meaning Phenomenon Shaped Around The “Tree” in Turkish Epic and Turkish World Epic". Turkology 5, n.º 103 (15 de outubro de 2020): 36–58. http://dx.doi.org/10.47526/2020/2664-3162.011.
Texto completo da fonteResumo:
Epics are a kind of memory of the societies in which they were formed in terms of history and culture. Therefore, we can follow the reflections of the adventures of societies in the historical process from epics. In epics, one of the genres with the most common performance tradition in the Turkish world, it is possible to find traces in accordance with every stage of social life. The projections of social acceptance and rejection and practices belonging to the world of belief can be followed through epics. One of the elements that belong to Turkish cultural life in epics is the tree. Especially in societies with the belief of Sky God / Shamanism, the tree, which is also associated with creation and reproduction, has found itself a place in epics in many different aspects. In this study, factors related to Turkey-located sagas of the trees transferred to Turkish Epic and Turkish World Epic will be assessed by classifying the frame and the concrete reality that they earn around the cult.
38
Yıldırım, S., e F. P. Kuzu. "The Meaning Phenomenon Shaped Around The “Tree” in Turkish Epic and Turkish World Epic". Turkology 5, n.º 103 (15 de outubro de 2020): 36–58. http://dx.doi.org/10.47526/2020/2664-3162.011.
Texto completo da fonteResumo:
Epics are a kind of memory of the societies in which they were formed in terms of history and culture. Therefore, we can follow the reflections of the adventures of societies in the historical process from epics. In epics, one of the genres with the most common performance tradition in the Turkish world, it is possible to find traces in accordance with every stage of social life. The projections of social acceptance and rejection and practices belonging to the world of belief can be followed through epics. One of the elements that belong to Turkish cultural life in epics is the tree. Especially in societies with the belief of Sky God / Shamanism, the tree, which is also associated with creation and reproduction, has found itself a place in epics in many different aspects. In this study, factors related to Turkey-located sagas of the trees transferred to Turkish Epic and Turkish World Epic will be assessed by classifying the frame and the concrete reality that they earn around the cult.
39
Reichl, Karl. "L’épopée orale turque d’Asie centrale. Inspiration religieuse et interprétation séculière". Études mongoles et sibériennes 32, n.º 1 (2001): 7–162. http://dx.doi.org/10.3406/emong.2001.1141.
Texto completo da fonteResumo:
The first chapter provides a short introduction to the Turkic oral epic of Central Asia (Bref aperçu de l’épopée orale turque d’Asie centrale). Among the various traditions of Turkic oral poetry, this and the following chapters focus on the epics of what is termed the « central traditions », i.e. the oral poetry of the Uzbeks, Uighurs, Kazakhs, Karakalpaks and Kirghiz. In these traditions different types of singers can be distinguished: baxši, aqïn, žïraw, manasči and others; these singers are in general professionals who have acquired their art and their repertoire in the course of a more or less formal training with one or more master singers. Although there are many similarities between these traditions, there is also a fair amount of variety as to the form, the genre and the manner of performance of the epics. Epics can be in verse, they can be in a mixture of verse and prose; the verse can be in octosyllabic lines, often alliterating, or in lines of eleven/twelve syllables, often rhyming; in the singers’ repertoire there are both heroic epics and lyrical love romances (dastans); the singer might perform the epic in chanting without the accompaniment of an instrument (as the Kirghiz manasči), he might accompany himself on a plucked or bowed instrument, and he might be further accompanied by another musician or even a small ensemble. In the second chapter the influence of Islam on the Central Asian oral epics is discussed (Le héros et le saint: l’influence islamique sur l’épopée turque d’Asie centrale). Islamic influence is found in epics and oral narratives of an overtly religious persuasion as well as in secular heroic epics and romances. The former (called džañnāma in Uzbek) celebrate the deeds of the Prophet and his followers and successors, their wars against the infidels and their achievements as Moslem leaders. These narratives have also influenced non-religious epics such as for instance the Uzbek dastan of Yusuf and Ahmad. An important role in these and other epics is given to various helper saints, in particular to ‘Alī, the Forty Saints, the Twelve Imams, and various pirs and holy men. In discussing the heterodoxy in the invocations of these saints it is argued that the most important source of religious inspiration in the epics must be sought in the popular Islam of Central Asia, which incorporates many pre-Islamic elements. In the third chapter the pre-Islamic strata as found in the Central Asian epics are further examined (Le héros et le chamane: les strates archaïques de l’épopée turque). It is shown that there is an intimate connection between epic singer and shaman. This emerges from the use of terms like baxši for both the bard and the shaman, from the symbolism of the singer’s instrument, comparable to that of the shaman, and from initiation visions and sicknesses found both among bards and shamans. A closer view at two Altaian epics (Kögütey and Altay Buučay) shows that in this tradition the world of the pre-Islamic Turks is well preserved, but similar archaic strata can also be detected in the epics of the central traditions, among them the transformations of the hero and his horse, heroic adventures in the underworld, various mythological figures and the reanimation of the hero. The fourth chapter is concerned with questions of interpretation (“Sens” et “conjointure”: problèmes d’interprétation). With reference to the distinction between sens and conjointure as made in the introduction to Chrétien de Troyes’ Érec et Énide it is argued that an oral epic such as Qoblan or Manas should not only be interpreted on the textual level but must also be interpreted from a pragmatic point of view. While a close reading of the epic as a work of verbal art (plot, characterisation, style, narrative structure and narrative technique) is indispensable for its analysis, a fuller understanding presupposes a knowledge of the function an epic performance has in an oral (or partially oral) society and the place an epic occupies in its value system. Heroic epics like Qoblan or Manas are felt to be historical (by singer and audience) and they play an important role in identifying the roots of an ethnic group and in re-inforcing its identity. While these heroic epics are believed to reflect historical truth, they have nevertheless undergone considerable transformation in the course of their transmission, thus conforming in the plot and motif structure to mythic patterns as described by M. Eliade. The final chapter examines the actual performance of Central Asian oral epics (La voix vive: aspects de la performance). With the help of the terminological apparatus of the ethnography of communication the various constituents of an epic peformance are described and the event character of oral epic poetry is underlined. By the same token, the comments on the musical aspects of performance in the first chapter are elaborated, with examples from the various central traditions of Turkic epic poetry. While the recitation of epic contains many dramatic elements, the performance of Turkic epic poetry does not cross the borderline to drama as in some African or Asian traditions. It is stressed in concluding that as an oral art the performance aspects of Turkic epic are of the utmost importance for its full appreciation.
40
Kwanghun, Jung, e Kim Hyunju. "From Buddhist Story to Heroic Epic: A Comparative Study of the Epic of Geser and the Mulian Story". Acta Orientalia Academiae Scientiarum Hungaricae 74, n.º 3 (20 de setembro de 2021): 413–30. http://dx.doi.org/10.1556/062.2021.00018.
Texto completo da fonteResumo:
This paper compares narrative modification in the Mongolian heroic epic The Epic of Geser with that of the Buddhist Mulian story. The Mulian story, in which the protagonist saves his mother from the underworld gained widespread popularity in its time. Mulian Bianwen from the Tang dynasty, presents the scenes from the story in a very dramatic manner. The Mongolian Geser epic uses this motif but adapts the story to fit the characteristics of a heroic epic for nomadic people. Heroic epics must contain motifs that depict the image of their protagonist to present a collection of exemplary characters. To create a complete heroic epic, the story of Geser absorbed a religious story from another culture that was very popular at the time. In the present study, five scenes common to The Epic of Geser and the Mulian story are analysed to investigate how the original Buddhist story became a part of the heroic epic. This analysis considers the ways in which identical story motifs can be used for the different purposes according to the nature of the literary work.
41
Sharipova, Nigora Nuriddinovna. "Poetics Of “Hayrat Ul-Abror” Stories". American Journal of Social Science and Education Innovations 03, n.º 04 (22 de abril de 2021): 118–21. http://dx.doi.org/10.37547/tajssei/volume03issue04-18.
Texto completo da fonteResumo:
“Hayrat ul-Abror” is a work with a unique structure and complex composition among the epic poems of “Hamsa”. The next four epics of “Khamsa” have a complete plot. However, the first epic composition is classified into three groups: 1) the whole composition of the epic; 2) composition of articles; 3) composition of stories. Stories have a special place in the epic. They come after each article and, in the form of a contribution from the story, develop and prove the ideas and views put forward by the author in the article. The study of the poetics of the stories, a deep understanding of their essence, allows us to fully understand the basis of the parables put forward in the articles that are directly the ideological basis of the epic.
42
DEMİRCİ, Ümit Özgür, Mehmet HAZAR, İbrahim ÖZKAN e Ali KILIÇ. "Kazakh Epic Janibek Batır". Journal of Old Turkic Studies 6, n.º 2 (19 de julho de 2022): 272–364. http://dx.doi.org/10.35236/jots.1144775.
Texto completo da fonteResumo:
There are many opinions about the Kazakhs being one of the Turkish tribes living in Central Asia since the time of the Saka-Scythians and appearing on the stage of history. According to the most common view, Kazakhs emerged when a community that did not comply with Abulhayhan Khan tended to live in a nomadic way between the Chu and Talas rivers. In Kazakh Turkish, the word dastan corresponds to the words jir, epos, köne epos, dastan. For heroic epics, batir jiri, batik epos, heroic epos; love epics are used as gaşıgtik jir, romandik epos, liro epostik jir. As in most epic traditions, Kazakh epics are sung in a mixed form in verse and prose, and traditional instruments such as dombra and kopuz are used in the verse. Telling an epic is called jirla-. While heroic epics are sung in the style of jır, love epics are told in the style of black dead. This epic, which is in the library of Muhtar Avezov Literature and Art Institute, is a copy of Aqıt Qajji Ülimjiwlı. Taken from the fifty-ninth volume of the multi-volume publication Atalar Sözü published by the Kazakh Language Development Institute. As the subject, it tells the heroism of the Kazakh folk hero named Janibek, some of his adventures and his fame among the people, and also reveals the life lived in the Kazakh steppes of that period in a plain language. In this study, the translated text of the work, the transfer of the text to Turkey Turkish and its index are presented to the attention of researchers as well as those who are interested in this field.
43
S, Bharathi. "Silapathikaram quotes in grammatical text". International Research Journal of Tamil 4, n.º 1 (30 de dezembro de 2021): 117–21. http://dx.doi.org/10.34256/irjt22113.
Texto completo da fonteResumo:
Epics has been created in various languages such as Greek, Latin, Persian and Tamil in the world. Even in Tolkappiyam, there is no reference the existence of epics in Tamil. Dandiyalankara is the first script recorded about epics in Tamil. Silappathikaram is the first epic to appear in Tamil literature. This epic and Tolkappiyam were appeared during Sangam literature followed by AD Appeared in the second century. The author of this epic is Ilangovadi. He is the son of Cheramannan Neduncheralathan and the brother of Cheran Senkuttuvan. Silappathikaram is one of the greatest epics that appeared in the Tamil language. It is no exaggeration to say that as the epics were developed next to vintage literature appeared. Grammar rules are composed and written by Vaithiyanatha Desikar in the AD seventeenth century. He has used quotations from various grammatical texts in the context of the text with rich evidence for the text. He has used these quotations to clarify grammatical explanatory threads, for further explanation and for textual concentration. The purpose of this article is to illustrate how grammatical lyricism supports grammatical interpretation.
44
Ergashevna Sabirova, Nasiba. "Cənubi və şimali Xorəzm epik məktəbləri". SCIENTIFIC WORK 77, n.º 4 (17 de abril de 2022): 26–31. http://dx.doi.org/10.36719/2663-4619/77/26-31.
Texto completo da fonteResumo:
In this article we will talk about Khorezm epic schools and their peculiarities. It is said that the ethnogenetic history of the people has a significant impact on the formation of different schools of epic poetry, as any ethnic group preserves its ancient traditions, which can be clearly seen in the epic schools of Khorezm.Also, art critic B.Matyokubov in his pamphlet divided the Khorezm epic into three shops based on the information given by Bola Bakhshi, folklorist S.R.Ruzimbaev also commented on Khorezm epics, Bakhshi schools, and there are two traditions of epic poetry in the oasis. The article is analyzed on the basis of the classification of traditions of epic poetry of South and North Khorezm, the similarities and differences of epic schools are proved by examples taken from Khorezm epics. Key words: epic, Khorezmepic schools, South Khorezmepic school, North Khorezmepic school, Khorezmepic stores, upper store, middle store, Osh (Lower) store, Khorezmbakhshi, Bola bakhshi, Oshiq Aydinpir Nəsibə Erqaşevna Sabirova Cənubi və şimali Xorəzm epik məktəbləri Xülasə Bu yazıda Xorəzm epik məktəbləri və onların özünəməxsus xüsusiyyətlərindən bəhs edəcəyik. Bildirilir ki, hər bir etnik qrup öz qədim ənənələrini qoruyub saxladığından, xalqın etnogenetik tarixi müxtəlif epik şeir məktəblərinin formalaşmasına mühüm təsir göstərir ki, bunu Xorəzmin epik məktəblərində də aydın görmək mümkündür. .Matyokubov öz pamfletində Xorəzm dastanını Bola Baxşinin verdiyi məlumata əsasən üç dükana ayırmış, folklorşünas S.R.Ruzımbayev də Xorəzm dastanlarına, baxşı məktəblərinə münasibət bildirmiş, oazisdə iki epik şeir ənənəsi mövcuddur. Məqalədə Cənubi və Şimali Xorəzm epik poeziya ənənələrinin təsnifatı əsasında təhlil edilmiş, epos məktəblərinin oxşar və fərqli cəhətləri Xorəzm dastanlarından götürülmüş nümunələrlə sübut edilmişdir. Açar sözlər: dastan, Xorəzmepik məktəbləri, Cənubi Xorəzmepik məktəbi, Şimali Xorəzmepik məktəbi, Xorəzmepik dükanları, yuxarı mağaza, orta mağaza, Oş (Aşağı) mağazası, Xorəzmbaxşı, Bola baxşı, Aşıq Aydınpir
45
Fokin, Aleksandr A., e Zalina M. Semenova. "Образ Ильи Муромца в сравнительно-историческом и историко-функциональном аспектах". Бюллетень Калмыцкого научного центра Российской академии наук, n.º 3 (25 de dezembro de 2023): 135–51. http://dx.doi.org/10.22162/2587-6503-2023-3-27-135-151.
Texto completo da fonteResumo:
Introduction. Bylina is an ancient Russian epic song about the life and heroic deeds of Russian heroes, as well as about events or remarkable episodes in the national history of the 11th–16th centuries. Cycles of epics about Ilya Muromets are formed on the basis of ancient legends, united by the origin and character of the main character. It is not the name of the hero, but artistic plots inherited from the distant past that form the basis on which the historical epic develops. The purpose of the article is to identify the conditions for the formation and transformation of epic stories about Ilya Muromets. Material and methods. Classic works of Russian literary criticism and folkloristics, individual plots of the Russian epic and the epic of neighboring peoples are analyzed. Comparative-historical and historical-functional research methods were used. Results. The scientific work examines the history of the development of the image of the Russian hero Ilya Muromets as a gradual “democratization” of the hero of the ancient Russian epic. A wide range of works of Russian, Belarusian, Serbian, Adyghe, Georgian, Ossetian folklore is analyzed. The points of view of folklorists of the 19th–20th centuries on the history, existence, methods and means of broadcasting the poetic biography of Ilya Muromets are presented and interpreted.; their scientific methods and approaches. Epic plots are traced, united by the name of Ilya and having not only an “external” but also a deep internal connection, determined by folk ideas about the hero, his entire appearance, growing on the basis of the entire set of artistic plots. The Conclusion is drawn about the “reworking” in Russian epics of the motifs of magical-heroic fairy tales, the heroic epic of the peoples of the North Caucasus, Transcaucasia and other ethnic groups.
46
Koryakina, A. F. "Analogies in Yakut Olonkho and Tuvan Epos: Plot-Compositional Structure, Motives (based on the Epics “Nyurgun Bootur the Swift” by G. K. Orosin and “Hunan-Kara” Changchi-Khoo Oorzhak)". Nauchnyi dialog, n.º 5 (30 de maio de 2020): 303–19. http://dx.doi.org/10.24224/2227-1295-2020-5-303-319.
Texto completo da fonteResumo:
The results of a comparative analysis of the texts of the Yakut and Tuvan epics in order to establish common features in the epic heritage of the Yakut and Tuvan peoples are presented in the article. The relevance of the study is due to the problem of searching for the genetic origins of the formation of the heroic epic in modern epiconception. The degree of knowledge of the problem, the style of performance of the epic in a comparative perspective are examined. Particular attention is paid to the analysis of the plot-compositional structure, plot-forming motifs. As a result of the study, data were revealed that testify to the undeniable occurrence of epic legends of the Yakut and Tuvan peoples at the interface of their historical and spiritual contacts in the Turkic-Mongolian world, about their common genetic origins. Analogies are found in the manner of performing the storytellers. The proximity of the plot-compositional structure was discovered: in both epic literary texts there are all elements of the plot composition, stable for the Turkic-Mongolian epics. It is established that in the studied works the themes of matchmaking of bogatyr-heroes and their heroic campaigns, battles with monsters in order to protect fellow tribesmen are in contact. Both epics contain ancient motifs: parents provide heroes with heroic armor and a horse; description of a horse-friend, heroism; matchmaking and marriage, etc.
47
Reichl, К. "TRANSLATING TURKIC ORAL EPICS INTO ENGLISH AND GERMAN: PROBLEMS AND INSIGHTS". Эпосоведение, n.º 1(1) (29 de novembro de 2017): 76–82. http://dx.doi.org/10.25587/svfu.2017.1.8093.
Texto completo da fonteResumo:
It is a well-known fact that the Turkic-speaking peoples of Eurasia and Siberia possess a rich heritage of oral epic poetry. Much has been written down, and in some areas the oral tradition of epic poetry is still flourishing today. While a few of the early texts, written down in the 19th century, are available in older German translations (A. Schiefner, W. Radloff), the majority of these epics can only be accessed either in their original language or (in some cases) in Russian translation. Translations of Turkic oral epics into European languages such as English, German or French are urgently needed in order to familiarize epic scholars outside the Turkic- or Russianspeaking world with this important corpus. Translating Turkic epics into European languages poses, however, a number of problems. In the following some of these problems are identified and discussed with reference to my translations of the Uzbek oral epics Ravshan and Alpamysh into German, the Karakalpak epic Edige and the Kirghiz epic Manas both into English. ´The latter translation is still ongoing; two volumes have so far been completed. The translation problems concern basic methodological questions such as the choice between a literary and a literal translation and the strategies available to overcome differences in linguistic structure between the source languages and the target languages. An important element in translation is not only the linguistic, but also the stylistic level of the text. In addition, a translation has to pay attention to paralinguistic aspects (e.g., music and performance modes) and to the cultural world of the original. The translator is not only a mediator between languages, but also between cultures.
48
Kemaloğlu, İlyas. "Research on the Epic of Edigey in Türkiye". Golden Horde Review 12, n.º 4 (28 de dezembro de 2024): 888–96. https://doi.org/10.22378/2313-6197.2024-12-4.888-896.
Texto completo da fonteResumo:
Objective: The aim of the research is to reveal the history of studies in Turkey on the Edigey Epic, one of the most important epics in the Turkish world, to introduce the published copies of the Edigey Epic, and to determine from which perspectives the epic was researched and what kind of conclusions were reached. Research materials: The source of the study consists of copies of the epic published in Turkey, master’s and doctoral theses on the epic, and articles published in various scientific journals in Turkey on the subject. Results and novelty of the research: As a result of the research, it was determined that the Tatar, Bashkir, Nogay, and Kazakh versions of the epic were published in Turkey, two master’s and two doctoral theses were written on the Edigey Epic, and dozens of articles were written. Although the different versions of the Edigey Epic published in Turkey are attributed to different nations, in fact the subjects and heroes of all these publications are the same, and we see the differences only in the motives and cultural characteristics specific to these respective nations. As in many other fields, Tatar intellectuals were the first to research the epic in Turkey. On the other hand, articles written about the epic examine it in terms of history, literature, and language. These studies mostly attempt to reveal how the epic deals with the image of Edigey and Timur, the theme of homeland, weapons, steppe and steppe culture, birth-wedding-death, etc. In addition, some articles examine topics such as supernatural powers, mythological motives, and the functions of animals in the epic.
49
Petrov, Nikita V. "SINGERS OF EPIC TALES. SCENARIOS OF GAINING MASTERY". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 4 (2023): 100–116. http://dx.doi.org/10.28995/2686-7249-2023-4-100-116.
Texto completo da fonteResumo:
The article delves into the narratives of singers of tales and audiences, incorporating insights from researchers on the acquisition of the “epic gift” and the regulation of epic performance in a broad Euro-Asian context. The author distinguishes two narrative scenarios for the acquisition of the capacity to perform epics: the “vocation of the singer” and the “training of the narrator”. In the first scenario, narrators receive the epic gift through mythological initiation, such as from the heroes of tales via otherworldly encounters, dreams, or illnesses. In the second scenario, narrators are nurtured within the family of narrators, under the guidance of experienced narrators, as a result of selftraining, listening, or reading epic texts – thus try their hand and perform the epic for the audience. Such narrative scenarios complement each other, as a “vocation” often legitimizes a prolonged “training” and the formation of the singer of tales. Highlighted narrative scenarios are evident not only in traditional, but also in modern, urbanized societies, where the performance of epics is embedded into state and republican ideologies. That phenomenon can be best explained through James Scott’s concept of the state transforming social reality to better conform to bureaucratic optics and to be more manageable. However, the scenarios outlined in the article for the formation of the epic narrator in the 21st century have become a discursive form that bears little relation to the traditional training of narrators
50
Dung, Nguyen Tien. "“Living” Epics in Central Highland-Vietnam". Global Research in Higher Education 2, n.º 1 (9 de janeiro de 2019): 59. http://dx.doi.org/10.22158/grhe.v2n1p59.
Texto completo da fonteResumo:
<em>This article is about h’mon, an epic genre of Bahnar ethnic in the Central Highlands of Vietnam. Typical of this epic type is H’mon Dam Giong (or The Dam Giong epics). The contents of this article include space and mode of performance of h’mon; characteristics of the “living epic” of h’mon (It is the ability to refresh the content of h’mon by adding new details); characteristics of the character system (including the central character and the re-appearing characters).</em>