Daughter, stepdaughter, and daughter again: нow the main character of Yuri Yanovkyi's play changed with each edition of it

The article studies the variants of Valentin Kataev’s comedy Time, forward! in order to identify edits that influenced the author’s expression and the reader’s perception of the image of the main character. While researching comedy variants, it was found that the authors interested in Kataev’s work avoided the comedy Time, forward!. In our opinion, knowing about the corrections of the text of the play, Soviet critics, guided by political correctness, did not dare to engage in public polemics and literary-critical discussion around the famous writer. In the post-Soviet period, Kataev’s dramaturgy lost its relevance, did not kindle the interest of specialists. This study was conducted on the material of the comedy editions published during the author’s lifetime. Its relevance is justified by establishing the originality of the image of the main character of the main version of the work, reflecting the characters, emotions and feelings of people of its era. As part of the sample analysis it was found that by making corrections to the climactic scenes of the ending of the 1934 play, the author leaves the plot, the sequence of scenes, the system of images, the general idea of the work unchanged. During the comparison of the variants of the work, the edits made by the author to the two scenes of the finale were revealed. These scenes, connecting with the preceding scene, create a single plot and ideological and emotional node of the climax of the work. The image of the characters and the hero acquire a completely different appearance. With the appearance of comedy in public and up to the present, it has been believed that the image of the main character is a passionate and uncompromising fighter for the communist attitude to work. The edits revealed in the study in the version of the comedy of 1934, without dismissing the hero’s struggle for the result, a high pace in the socialist competition, indicate self-assertion of personality: high morality, friendly feelings. The image of the communist hero, which did not correspond to the literary and political canon, caused acute criticism and was the reason for suppressing the work. The results of the study give ground to consider the version of the play Time, forward! of 1934, a valuable source reflecting the characters, emotions and feelings of the heroes of its time.

This study aims to describe and explain (1) Self-image in Oka Rusmini's Earth Dance Novel (2) Social Image in Oka Rusmini's Earth Dance Novel. This research uses a study of Liberal Feminism. The approach used in this research is descriptive qualitative research. The data in this study are in the form of words, sentences in th e form of expressions, and dialogues between characters that show self-image and social images which are the focus of research. The data source in this study is the novel Tarian Bumi by Oka Rusmini. Data collection techniques in this study used the observation and note technique. The results of this study are able to explain the image of the main female character which includes self-image, and the social image that is owned by the main character of Balinese women. Through Oka Rusmini's novel Tarian Bumi, it explains the struggles of women and the conflicting rules in the family that makes one of the main characters, Ida Ayu Telaga Pidada, willing to leave her national title because she doesn't want to follow her mother's wishes. Telaga's rejection of the mother caused the relationship between mother and child to break up. Telaga who eventually left her family and became a complete Sudra woman even though she always had different opinions with her in-laws.

В данной статье рассмотрены образы главных героев в текстах олонхо северо-восточной традиции. Образ главных героев изучен в сравнительно-сопоставительном плане с текстами эпосов родственных тюркских народов Средней Азии и Сибири. Главные герои данных эпосов представляли собой образ идеального человека. Богатыри-воины были предназначены стать защитниками не только племен, но и своих народов и родины. Главный герой якутского олонхо имел божественное происхождение, идеальные внешние данные, высокие моральные качества, большую силу и рост, обладал ловкостью, настойчивостью и упорством. Он был защитником племени айыы. Для выявления образа главного героя в текстах олонхо северо-восточной региональной традиции были проанализированы собственные имена, характеристика и описания богатырей айыы. Анализ имен главных героев олонхо северо-восточной традиции выявил тот факт, что имена главных героев 8 текстов олонхо (57%) северо-восточной традиции не имеют показателей богатырства. Автор считает, что большая половина главных героев не являются богатырями. Главные герои исследуемой традиции были защитниками своей семьи. Они наделены следующими качествами как гордость, настойчивость и упорство. В образе главного героя можно найти черты богатыря-охотника. Богатыри исследуемой традиции, в отличие от богатырей других традиций отличались меткостью и зоркостью, теми чертами, которыми владели именно охотники. Они обладали силой волшебных превращений. Магическая сила и перевоплощение главного героя также считается архаической чертой эпоса. Главные герои изучаемой традиции не наделены высокими нравственными качествами. Они владели такими качествами как вспыльчивость, грубость, жестокость, беспощадность, суровость. В 13 текстах (92,8 %) из 14 отсутствует полная портретная характеристика главного героя. Частичные описания портрета главных героев найдены только в 2 текстах олонхо. В 11 текстах полностью отсутствуют описания главных героев. Автор делает вывод, что в рассматриваемой традиции портретная характеристика главных героев еще не выработана. This article considers the images of protagonists in the texts of the Olonkho of the northeastern tradition. The image of the main characters was studied comparatively in comparative terms with texts of the epics of the related Turkic peoples of Central Asia and Siberia. The main characters of the epic of the Turkic peoples of Central Asia and Siberia were the image of an ideal person. The warriors-heroes were destined to become defenders of not only the tribes, but also their peoples and homeland. The protagonist of the Yakut Olonkho had a divine origin, ideal external properties, high moral qualities, great strength and growth, possessed dexterity, perseverance and perseverance. He was a defender of the Aiyy tribe. To identify the image of the protagonist in the texts of the Olonkho in the northeastern regional tradition, the author's names, characteristics and descriptions of Aiyy warriors were analyzed. The analysis of the names of the main characters of the Olonkho in the northeastern tradition revealed the fact that the names of the main characters of the eight Olonkho texts (57%) of the northeastern tradition do not have any indicators of heroism. The author believes that most of the main characters are not heroes. The main characters of the tradition in subject were the defenders of their families. They are endowed with the following qualities: pride, perseverance and perseverance. In the image of the protagonist you can find the features of a hero – a hunter. The heroes of the studied tradition, unlike the heroes of other traditions, were distinguished for their accuracy and vigilance, the features that the hunters possess. They possessed the power of magical transformations. The magical power and reincarnation of the protagonist is also considered an archaic feature of the epic. The main characters of the studied tradition are not endowed with high moral qualities. They possessed such qualities as quick temper, rudeness, cruelty, ruthlessness, severity. In 13 texts (92.8%) out of 14 there is no complete portrait characteristic of the main character. Partial descriptions of the portrait of the main characters were found only in two texts of the Olonkho. 11 texts lack descriptions of the main characters. The author concludes that in the considered tradition, the portrait characterization of the main characters has not yet been worked out.

Cartoon images are one of the important carriers for the inheritance of folk literature and culture. We should pay attention to the positive role of cartoon images in the inheritance of intangible culture. So the study aims to design and develop cartoon images of main characters in the Legend of the White snake based on audience intention. So that the cartoon image can be endowed with historical and modern cultural connotations. In this way, it can play a role in inheriting intangible cultural heritage and enhance the cultural confidence. Through the combination of qualitative and quantitative method, it compared the main characters of the Legend of the White snake at home and abroad. After carrying out desk research on the historical background of the legend, we used the concept of participatory design to conduct a questionnaire survey on the preference of cartoon images and analyzed the problems of character design, carrier, communication, and etc. Finally, based on the audience's extraction and combination of design elements, the cartoon image of the main characters in the Legend of the White Snake was generated, which meets the perceptual needs of modern people. By making full use of the narrative function of cartoon images, the creatively designed cartoon images of the main characters in the Legend of the White Snake are deeply rooted in the hearts of the people. It can also raise public interest in the culture of the White Snake and arouse emotional resonance. In this way, it promotes the inheritance and development of the intangible cultural heritage, the White Snake, and provides a certain reference for the design of cartoon images of similar characters in folk literature.

On this research, the researcher has aim to find out the main character Dewi Ayu’s human needs and identify the most dominant needs. In this study, the researcher applied the psychological approach and theory of human needs. This research is a qualitative descriptive study. The writer uses a library research method to collect the data. It means that the writer visit the library and reads the novel then read several related books. The main data is novel beauty is a wound by Eka Kurniawan, while supporting data is obtained from books, articles, and the internet. The result of this study can be explained that the main character can not totally fulfill well, such as: (1) the physiological needs of the main character can be fulfilled well because she is from a wealthy family (2) the safety can not be fulfilled due to factors in that era (3) the love and belonging need can be fulfilled well because the main character has a beautiful appearance (4) the esteem needs can be fulfilled because she is a famous figure at that time (5) self-actualization needs also can be fulfilled well because the main character is a brave and is able to position herself very well. From the five hierarchy needs the most dominant need is safety needs.

Introduction. The article examines Yakut heroic olonkho epics — Nyurgun Bootur the Swift by P. Oyunsky and Kulun Kullustuur the Obstinate by I. Timofeev-Teploukhov — for techniques employed to create portraits of main characters. According to N. Yemelyanov, the olonkho Kulun Kullustuur the Obstinate recorded from taleteller I. Timofeev-Teploukhov clusters with earliest patterns of archaic epic, while that of Yakut writer P. Oyunsky (Nyurgun Bootur the Swift) is the first literary adaptation of olonkho texts. The study attempts an insight into how and which particular portrayal techniques were used by P. Oyunsky and I. Timofeev-Teploukhov to depict main characters of theirs. The comparative approach to the narratives recorded in different periods shall make it possible to trace the use of portrayal techniques, which shall underline the unique artistic features characterizing each of the taletellers, and show how such portrayal patterns developed to gain deeper associative essentials in further olonkho texts. Goals. The study aims to identify some distinct features inherent to the techniques of creating main characters’ portraits in the olonkhos Nyurgun Bootur the Swift and Kulun Kullustuur the Obstinate, and outline ethnic specifics in portrayal characteristics. To facilitate this, the paper shall classify portrayals, articulate types of techniques and their functions in portraying a main character, identify stable formulas employed to depict heroes, determine specific features of portrayal as a key technique for the making of an epic hero. The work reviews the existing types of epic portraits, their functions and attributes, examines some visual means serving to unveil the images of main characters. Results. The study attests to the examined narratives are characterized by an increased stability of depictive portrayals with peripheral parts (artistic and emotional epithets) tending to vary. Each such depictive portrayal proves multifunctional, semantically wide, and technically relevant. The descriptions of the heroes’ appearances are somewhat idealized and rich in comparisons, repetitions, evaluative epithets. Portrayal agendas of P. Oyunsky vary through history and depend on actual artistic methods and style employed by the author who pays special attention to fictional details depicted in the context of folk traditions. The study of the techniques helps identify which innovative tools P. Oyunsky used when he was creating his Nyurgun Bootur the Swift.

This article continues the author's research devoted to the study of the problem of choreographic interpretations of literary works, in particular, John Neumeier's ballet "Anna Karenina". In this work, the identification of expressive staging means and choreographic elements used by Neumeier in the production of duets by Anna Karenina and Alexei Vronsky is carried out in order to determine the place of these choreographic fragments in the performance, as well as their significance for the author's interpretation of the images of the main characters of the novel by Leo Tolstoy. In the course of the research, the author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier on Kitty's party). In the course of the source analysis, video materials from the archives of the Hamburg Ballettzentrum and the Moscow Bolshoi Theater were used, as well as lectures conducted by Neumeier before the Moscow premiere of Anna Karenina (recordings from the author's archive). A detailed analysis of the dance score of three duets by Anna and Vronsky revealed traditional and innovative author's solutions related to the new research results. So, Neumeier uses such staging means as the compilation of Tchaikovsky and Schnittke's music; the inclusion of symbolic images (a chair, a door, a bag) in the choreographic canvas; the appearance of other characters; the use of stage lighting to accentuate the transition from reality to the sphere of the subconscious; active choreographic development based on a technically saturated duet dance, replete with high supports in the neoclassical style, as well as acrobatic elements; semantic use of plastic quotations. It can be concluded that in order to develop the images and relationships of Anna Karenina and Alexey Vronsky, the choreographer chooses a duet as the dominant musical and choreographic form. Moreover, in his version of Anna Karenina, Neumeier makes three duets of the main characters a key component of the performance and the author's interpretation of the images of the main characters.

This article is devoted to the main character of the famous I-novel written by modern Japanese writer Sayaka Murata – "Convenience store woman". The novel brought the writer great popularity and many literary awards, one of which is the most prestigious literary award in Japan – the Akutagawa Ryunosuke Award. Since in many ways this novel is autobiographical and based on Sayaka Murata's own life experience, she managed to deeply reveal many of the current problems of modern society in Japan by the example of the image of the main character in the novel "Convenience store woman".

The purpose of the work is literary analysis of the means of artistic image of the main character’s specific consciousness of the novel by M. Gorky The Life of Klim Samgin. The author of the article investigates the problem of multiple consciousness of the personality of Gorky’s contemporary-intellectual. The writer uses the description of unconscious and borderline states of the character (in particular states of dream or disease), reception of mixing of the real and unreal, external and internal plans represented by means of introduction in the text of the novel of the East parable for the first time opening to consciousness of Gorky’s hero its internal duality; allegorical dream of Samgin characterizing him from the point of view of the true internal «I» and predicting his death; an episode of Samgin’s half-asleep, which actualizes the question of the truth or illusory nature of his personality, and also reveals the hero’s desire to hide his facelessness or to protect himself from hostile reality; an episode of the distribution of Samgin’s life experience between the twins, internally surrounding him; an episode of the embodiment of the main character’s allegorical dream when moving the state of internal fragmentation of the character in the description of his real life. Internal unity is unattainable for Samgin; the real reality behaves aggressively, not giving him the opportunity to feel the personal integrity and gain individuality. As a result of the study, the author of the presented work managed to prove that, using the method of changing and modifying the means of artistic image of the main character’s of the The Life of Klim Samgin specific consciousness, the author of the novel allows him to draw conclusions concerning the understanding of his own personality — the personality of Gorky’s contemporary-intellectual. This article uses psychological, culturalhistorical, sociological, descriptive methods of research.

The aim of this study as follows. (1) describe the type of illocutionary speech acts used the main character in the comic discourse Three Seniors Streets Benny Rachmadi Singapore to work, (2) describe the function of illocutionary speech acts used the main character in the comic discourse Seniors Three Roads to the work of Benny Singapore Rachmadi, (3) describe the dominant illocutionary speech acts used the main character in the comic discourse Three Seniors Streets Benny Rachmadi Singapore to work. This research is a qualitative research method in this study deskriptif.Data main character in the form of narrative discourse Seniors comic Three Roads to Singapore Work Rachmadiyang Benny containing illocutionary speech acts. Data collection techniques used in this study is the technique of note, which is a technique used by researchers dealing with the use of written language. Based on the research results, it was concluded the following. First, the type of illocutionary speech acts used the main character in the comic discourse Seniors Three Roads to the work of Benny Rachmadi Singapore found 28 utterances. Representative speech acts found 13 utterances, 11 utterances directive, and the declaration of 4 utterances. Second, the function of illocutionary speech acts used the main character in the comic discourse Seniors Three Roads to Singapore by Benny Rachmadi found 12 utterances. Competitive speech act functions found 3 tuturanmenyenangkan 3 utterances, working 3 utterances, and found 3 contradicts speech. Third, the type of illocutionary speech acts used the dominant discourse of the main character in the comic Three Seniors Streets to Singapore by Benny Rachmadi is representative speech act, illocutionary speech acts and functions of the dominant discourse used the main character in the comic Three Seniors Streets to Singapore by Benny Rachmadi is no dominant speech acts.

This research article contains a discussion of the existentialism of the main character in the short story Di Joyoboyo Penyair Berteman Sunyi. The theory used in this research is structural theory especially about the main character in fiction. While the main character's behavior is read from the point of view of Jean Paul Sartre's existentialist philosophy. The method used in this research is analytical descriptive method. The technique used in this research is literature review technique. The result of research is the existentialism of the main character can be felt on the main character anxiety. The anxiety felt by the main characters includes anxiety due to economic conditions, anxiety of desire, to anxiety in itself. Anxiety begins because the choice of poet to choose the poet's profession. Existentialism is also seen when the main character suffered philosophical suicide and physical death.

Взаємозв’язок між наративом художнього твору і системою образів є одним з важливих аспектів дослідження сучасної наратологіі. У статті зроблено спробу наративного аналізу системи точок зору, створеної В.К. Желєзниковим у повісті «Опудало». Мета дослідження – виділити й охарактеризувати різні точки зору, які формують образ головної героїні даного твору. Протягом розвитку сюжету твору точка зору на головну героїню змінюється. Її внутрішній світ, вчинки та поведінка аналізуються крізь призму сприйняття оповідача, її дідуся, однокласника, а також за допомогою передачі її власних переживань. Використовуючи методику аналізу точок зору, запропоновану В. Шмідом, ми виділили такі типи точок зору, представлені в повісті: однополюсна нарраторіальна, однополюсна персональна та різнополюсна. Було відзначено, що в характеристиці образу головної героїні з точок зору оповідача і Миколая Миколайовича простежується ніжне та дбайливе ставлення до дівчинки, яке виражається на рівнях сприйняття, оцінки та мови. Велике місце в оповіді твору займає розповідь героїні дідусеві про минулі події, які відбулися з нею. У цьому зізнанні дівчинка аналізує свої вчинки та почуття і таким чином транслює власну точку зору на себе. Точки зору однокласників і інших жителів містечка з приводу Оленки представлені в тексті «Опудала» спорадично. Про їхнє ставлення до дівчинки читач дізнається з розповіді самої героїні. Відсутність відношення городян до героїні може свідчити як про їх байдужість до дівчини, так і про свідому відмову автора включати їх негативні характеристики, які могли б негативно відбитися на образі Оленки. Таке рішення може бути пов’язано також із прагненням автора посилити виховну функцію, яку несе в собі твір для дітей. У роботі ми прийшли до висновку, що В.К. Желєзников розглядає образ дівчинки з різних точок зору для створення багатогранного портрета героїні та більш повного розкриття її внутрішнього світу.

This article analyzes the linguistic portrait of a repressed woman. To provide a detailed description, the image of the main female character in the novel under study is compared with the totally opposite image of her mother-in-law; at the same time, these images are closely intertwined. The heroine’s vocabulary, the sentence structure in speech, the punctuation marks, the ratio of internal and external speech (the internal monologues help to describe the main character Zuleikha most accurately) and the dynamics of these characteristics, as the storyline develops, are the most important elements of creating her linguistic portrait. We note the significance and importance of studying the linguistic picture of the world of our authors (in this case, the study is based on the novel by the modern author Guzel Yakhina) within the integrative paradigm of linguistics and the general need to study the language of G. Yakhina’s text with the aim of introducing inophone students to the Russian language and literature. This analysis allows students of the Russian language not only to improve their communication skills, but also introduces them to the key moments of our history, the culture of Russia and the region of residence (in this case, Tatarstan) – since the culture of speech is not only the ability to speak eloquently and correctly, but also the knowledge of the people’s specific features.

The purpose of the article is to reveal the ideological, thematic, descriptive, intonation-rhythmic consonance of the musical accompaniment of the band “DakhaBrakha” with the film and film story by O. Dovzhenko. The article highlights the role of musical accompaniment in the restored 2012 version of the film “Earth” by the famous Ukrainian director of the twentieth century O. Dovzhenko. This is the first study in which, through the comprehension of the trinity of the samples of music, cinema, and literature, new meanings are revealed in musical compositions and the film, the relevance of the raised existential problems is expressed, the ethnic basis of the concept of characters and the works of art chosen for the analysis as a whole are indicated. The corpus of methods was applied in the research: the cultural-historical method contributed to the understanding of the place, role, and meaning of film, music, and literary texts in contemporary artistic realities; the intermedial approach helped in identifying and characterizing the common, different and peculiar in the pictorial, mood, ideological and thematic, content filling of scenes, micro-episodes, symbolic images and details in samples belonging to various types of arts; the hermeneutic method is applied to reveal and interpret the traditional and innovative in stylistic specificity of the ethno-chaos performance of the “DakhaBrakha” band. Based on the cultural and historical method, the hermeneutic method, and the intermedial approach in the research it was emphasized that the instruments (accordion, drum, cello, ratchet, etc.) involved by the DakhaBrakha musical group, their tonality, rhythm, as well as the Ukrainian folklore samples involved in the content plan contributed to the effective depiction of various states of the main and secondary characters (joy, grief, concentration, sadness, thoughtfulness, etc.), the moods of the peasants, interpersonal relationships, emphasizing the character traits of Ukrainian heroes, hereditary farmers, their natural desire to work on the land and thus self-actualize. The article remarked on the role of pauses in the reflection of emotionally capacious, conceptually important film episodes, micro-episodes, and scenes, enhanced by demonstrative cinematic techniques. The trinity of music, cinematic material, and literary work in the construction of characters and perfect plot layout is emphasized. The musical design of the film “Earth” by O. Dovzhenko, carried out by the ethnic-chaos DakhaBrakha group, accentuates the national selfhood of the Ukrainian character, even though the film tells about collectivization, the purposeful policy of the then Soviet government (the 30s of the twentieth century) to destroy the private property of Ukrainians, to negate the feeling of the owner composed over the centuries. Skillfully combined traditional and innovative stylistic specificity of performing skills of the ethnic-chaos group “DakhaBrakha” contribute to the identification of subtexts, codes for the interpretation of the content of works, actual existential problems, and national originality of the characters. The order, tempo of the musical performance as well as the visual content, that was thought out by the authors of the film, form the musical leading motif of the movie and deepen the understanding of the subtext, symbolic accents of the literary work, emphasize the features of the artistic presentation of the land problem with the help of expressive images of sunflowers, gardens, steppes, fields, oxen, etc. There are a music tempo-rhythmic and tonal-emotional support of frames in the film, that as well performs a peculiar function of sound illustration in the corresponding episodes of the literary text, thus giving the images of main characters and minor characters dynamics and expression. The musical drama of the film “Earth”, audio visualization of the main and secondary characters, repetition, the collision of frames with different plans, landscapes, and the specifics of their location in the frames emphasize the problematic of the literary work, contribute to the multifaceted images of heroes in the literary work and in the film, enhance the understanding of the conflicts (intra-frame, interpersonal, worldview, etc.), testify to the ideological-thematic, compositional, pictorial, emotional-semantic unity of musical, cinematographic and literary texts.

To compare and analyze the original novel of ”AQ” written by Lu-shin and the script of the Chinese Opera edited by Shi-chi-gan and Chung-chuan-hsin which is presented by Fu-hsin Chinese Opera performers from three dimensions: the plot, characters and the stage performance. The plot of the original copy comes from the point of view and the words of ”AQ”. However, the edited Chinese Opera is reinforced by the performance of the other roles to increase the interaction between the other characters and the main character. Thus, it made the image of the main character more vivid and lively. This Chinese Opera not only integrated modern literature with traditional dramas but also made the audiences perceive the possibility of modernize traditional dramas.