“Day of Wrath” in the Mirror of Hybrid Fantasy: Typological Similarities of A Song of Ice and Fire by G. R. R. Martin and Hard to Be a God By the Strugatsky Brothers — A Secondary Publication

The article is devoted to a comparative and typological study of “A Song of Ice and Fire” by G. Martin and “Hard to be a God” by A. and B. Strugatsky. These works were analyzed together with their screen versions. The purpose of the study is to reveal the typological (genre, plot, ideological, philosophical and narrative) similarities of both works. The conducted research is relevant as the comparative and typological approaches help to understand the ideological and philosophical messages related to the role of an individual in history and the temptations for heroes endowed with supernatural power. The methodology of this research is based on the combination of typological and comparative approaches. It is worth mentioning here that the comparative approach helps to reveal deep similarities of these two works, and the typological approach helps to comprehend their role in a wide cultural context. The conclusion is made that “A Song of Ice and Fire” and “Hard to be a God” have a number of typologically close features. They belong to the genre of hybrid fantasy; they don‟t have a direct assessment of events, there is no “all-competent” author‟s point of view, but there is a metaphor of “an involved observer” who, nonetheless, is also limited in his possession of information; both works represent a common psychological motivation of the heroes, which is based on a “mechanical” response to evil with more violent evil; a shift from the Christian tradition, atheistic and agnostic philosophizing are also represented in both works as well as a broken denouement and unresolved lines associated with the fate of the main characters. It should be stated that the works under study belong to different historical and cultural epochs but they illustrate the development of a typologically similar trends in literature and cinema, which are as follows: the strengthening of a pessimistic view of man and history; weakening of the spiritual and moral component; lack of assessment of the heroes‟ actions; breakage (or inevitable absence) of denouement. It is important that the works of these authors are in high demand, required by a wide readership and audience, since they satisfy the unspoken “social order”, and in some cases they form it.

Розглянуті ключові особливості та вектори розвитку фендома – неформальних об’єднань користувачів популярної культури. Проаналізовані особливості змін фендома в умовах соціополітичних та культурних змін останніх десятиліть. Зокрема, зафіксовані базові зміни у функціонуванні фендома на пострадянському просторі в умовах розвитку системи інтернет-комунікацій.

Industries lithiques du centre et du nord-est du Brésil pendant la transition Pléistocène–Holocène et l’Holocène ancien : la question du Technocomplexe Itaparica

B a c k g r o u n d . This paper uses the material of contemporary Ukrainian-Georgian literary relations to analyze the movement of scientific thought in their study. The active interaction of research approaches – genetic-contact and comparative-typological – transformed the general paradigm, led to new directions in comparative studies, and influenced the development of problematic and thematic artistic models. M e t h o d s . This research is a testament to the interdisciplinary nature of the field, employing a variety of methods: historical and literary, contact genetic, comparative, and typological. The conceptual provisions of works on cultural studies, receptive aesthetics, ethno-imagology, translation studies, intermedial and postcolonial studies are all brought to bear in this article. R e s u l t s . A study of contemporary Ukrainian-Georgian comparative studies has shown that the authors change their research methods depending on the material and purpose. The reliance on the methodological provisions of literary theory diversifies the nature of comparisons and activates the developments of receptive aesthetics, imagology, and narratology. Observations on Ukrainian-Georgian comparative studies underscore the crucial role of training Kartvelologists and Ukrainianists, and the necessity of mastering the original languages. This linguistic proficiency significantly influences the selection of material for comparisons and enables a deeper study of the problems of comparative poetics, the use of interdisciplinary approaches, etc. C o n c l u s i o n s . New comparative approaches to studying Ukrainian-Georgian literary relations – a departure from the dominant moments of the positivist phase, the use of comparative and typological approaches –have radically changed the studies and filled them with new content. The research made it possible to more fully sense the changes in national literature, the main trends in their development, issues, and genre specificity. Finally, to "let" contemporary literature into the field of study so that the picture of its development would be fuller, the conceptual field in which each literature develops would be broader.

The article examines the history of studying the category of comparison in literary studies. Comparative literature emerged as an independent discipline in the second half of the 19th century and developed systematically during the 20th century. The paper traces the origins of comparative approaches to literature and highlights the contributions of Russian scholars such as V. Zhirmunsky and A. Veselovsky, as well as Western researchers including R. Wellek and S. Bassnett. Special attention is given to the concepts of “world literature,” “intertextuality,” and “typological similarities” as the theoretical foundation of the category of comparison. The article also discusses the role of Kyrgyz literary scholarship in comparative studies, with a particular focus on the works of Chingiz Aitmatov in the global context. The findings demonstrate that the category of comparison functions as a universal methodological tool in literary studies. It helps to reveal not only the inner regularities of national literatures but also typological similarities and differences within the framework of world literary processes. The article has both theoretical and practical significance, contributing to the further development of the comparative-typological approach in literary research.

“Viimne reliikvia” ja “Kolme katku vahel”: ruumist eesti ajalookirjanduse ekraniseeringutes / The Last Relic and Between Three Plagues: On Space in Film Adaptations of Estonian Historical Fiction

Reviewed by: Reflections on Old Norse Myths Jana K. Schulman Reflections on Old Norse Myths. Edited by Pernille Hermann, Jens Peter Schjødt, and Rasmus Tranum Kristensen. Studies in Viking and Medieval Scandinavia, 1. Turnhout: Brepols, 2007. Pp. xiii + 176. $73. This collection of eight essays plus an overview of contemporary research on Old Norse mythology includes papers presented at a symposium at the University of Aarhus in 2005, and then revised, as well as three other invited essays. The purpose of this volume is to introduce and to provide further methodologies for its audience, to educate and to inspire them to further investigations of their own. The subject, as the piece entitled "Contemporary Research into Old Norse Mythology" demonstrates, is Old Norse mythology: how to read, interpret, situate, and discuss it. Jens Peter Schjødt points out in this survey of recent books that there are many approaches with which to examine Old Norse mythology (structuralist, ritual, shamanistic, and comparative, just to name a few), that there are problems with the sources, and, no matter how broad a previous discussion has been, that there is not much agreement. As a result, the field remains open to possibility, methodology, and approach. Pernille Hermann's essay about Íslendingabók raises questions about modes of discourse, typology, approaches, and reading history as fact. She notes that Íslendingabók "was considered to be history at the time it was written," but it would have also taken on the function of myth, specifically the foundation myth of Iceland (p. 19). Performing a typological analysis, Hermann argues it is the presence and then absence of the Irish monks that allows for a reading of Iceland as a terra Christiana that provided both paradise and consecrated ground to its pre-Christian settlers. She argues further that both pagan and Christian periods belong to the same textual level, concluding that there is a continuity that is further developed with this typological approach: the pagan past is the promise, the Christian present the fulfillment. John McKinnell interrogates a Christian audience's interest in mythology, especially given the labor and expense necessary to produce a manuscript. Using a comparative approach, he examines practical magic, texts that condemn heathenism, and royal and divine ancestry. His analysis reveals that, while other Germanic accounts contain such material, the level of sophistication found in Old Norse sources trumps these others. What explains this sophistication is the fact that many Icelanders trained to become professional poets, that heathen myths were a source of pride as part of an inherited culture, and that these myths interested Icelandic secular aristocrats because they "could be used to investigate some of the personal, social, and moral issues" that faced them in a manner that Scripture did not allow (p. 49). Rory McTurk examines Ragnars saga to determine whether it reflects pre-Christian Scandinavian ritual initiation practices and whether it offers an unusual example of female initiation in the case of Ragnarr's second wife, Áslaug. McTurk assesses the respective importance of Ragnarr and Áslaug to the saga by means of Jan de Vries's international heroic biography, a ten-part pattern derived from studies of creation myths and ritual initiations, demonstrating that de Vries's pattern is divided almost equally between the two. Next, he examines Áslaug's career [End Page 82] in relation to a five-part pattern established by Walter Burkert derived from Greek mythology and another five-part initiation sequence outlined by Jens Schjødt, concluding that these provide further evidence of both Áslaug's importance and female initiation. McTurk's essay raises a lot of questions, a fact he revels in, as he considers still another possible influence, that of Greek romance, on the careers of both Ragnarr and Áslaug. Frustrating as this "and then, and then" style may be, especially in the first ten pages, the essay does open channels for further discussion, its intended purpose, and that of the volume. Stephen Mitchell analyzes Skírnismál, focusing on Skírnir's curse of Gerðr, situating and explicating the scene in the poem against a "vast tradition that intertwined lust, love, violence, and magic . . ." (p. 78). An examination of other charms and...

The article deals with the problem of the ancient Indian epic "Mahabharata" female characters and their evolution in cinematography. The issues, covered in the work, are more essential now than ever and demand thorough research. In the time of emancipation and the global gender "equality", the women's question is a vexed point. The object of study is the ancient Indian epic Mahabharata in Indian literature and cinema, namely the 1965 film and TV series of 1988 and 2013. The subject of the study is the epic images of women in Indian cinema. Using the comparative approach, the analysis of women's images of cinema and epic is presented; their transformation in modern cinema is examined. Watching these movies one can clearly follow the trend of changing attitudes and drawing attention to the urgent problems of Indian women: position in society, upbringing, education, freedom, family relationships, confirming the relevance of the chosen topic. Screen versions of Sanskrit epics combine tradition and innovation; moreover every new screen version makes the women's issue more acute due to the transformation of female characters.

The article deals with the problem of the ancient Indian epic "Mahabharata" female characters and their evolution in cinematography. The issues, covered in the work, are more essential now than ever and demand thorough research. In the time of emancipation and the global gender "equality", the women's question is a vexed point. The object of study is the ancient Indian epic Mahabharata in Indian literature and cinema, namely the 1965 film and TV series of 1988 and 2013. The subject of the study is the epic images of women in Indian cinema. Using the comparative approach, the analysis of women's images of cinema and epic is presented; their transformation in modern cinema is examined. Watching these movies one can clearly follow the trend of changing attitudes and drawing attention to the urgent problems of Indian women: position in society, upbringing, education, freedom, family relationships, confirming the relevance of the chosen topic. Screen versions of Sanskrit epics combine tradition and innovation; moreover every new screen version makes the women's issue more acute due to the transformation of female characters.

Reviewed by: The Oxford Handbook of Musical Theatre Screen Adaptations ed. by Dominic McHugh Jeff Godsey THE OXFORD HANDBOOK OF MUSICAL THEATRE SCREEN ADAPTATIONS. Edited by Dominic McHugh. New York: Oxford University Press, 2019; pp. 674. Although the film version of Cats arrived too late for consideration in The Oxford Handbook of Musical Theatre Screen Adaptations, the questions and issues surrounding the reasons for its failure loom large throughout the book. Edited by Dominic McHugh, professor of musicology and curator of concert versions of Broadway musicals at the University of Sheffield, this massive collection of twenty-seven essays brings together leading scholars to consider the qualities that make a successful cinematic adaptation of a successful stage musical. McHugh, while referring specifically to “success” in the introduction, does not define it, and the essays vary widely in their determinations of how to measure it. Some of the writers focus on commercial success while others concentrate on artistic merit or critical achievement. Still others consider the effectiveness of specific aspects of a film. While the broad array of areas in which success is considered—critical, commercial, artistic, technical, and so on—and the consequent diverging methodologies and viewpoints provide critical insights and a multiplicity of starting points for future research, they also give the book a sprawling effect and leave the reader without a central theoretical underpinning. This is not necessarily a bad thing. The ultimate value of this book is that it creates a critical survey of topics in a subfield that has rarely been studied as such. [End Page 121] The book comprises six sections: the nature of adaptation; politics; identity; stars; multiple adaptations of single works; and production, commerce, and technology. As one might expect, the reasons for any single work’s failure span multiple categories, so the groupings are more suggestive than prescriptive, but this only underscores the complicated issues surrounding the subject. Such a taxonomy does not hamper the usefulness and enjoyability of the book for musical theatre scholars and theatre and film historians as well as popular readers with similar interests. It may be less useful for craftsmen who want to know how to make better films, as these essays rarely stray from theatrical and literary criticism into film theory or discussions of the technical elements of film from the point of view of filmmakers. Likewise, only a handful consider music theory, although it does make a refreshing appearance in a few of the essays. In addition to McHugh, who contributes two pieces himself, twenty-five essayists examine musical stage-to-screen adaptations from the earliest days of talking cinema (The Desert Song, Rio Rita) to twenty-first-century film (The Producers, Hairspray). Perhaps the best known of these writers is Geoffrey Block, author of Enchanted Evenings: The Broadway Musical from “Show Boat” to Sondheim and Lloyd Webber (1997). Here, Block examines the extent to which a screen adaptation “should” emulate its stage source via the 1935 film version of Roberta, which he sees as superior to the original 1933 stage version. The key to the film’s success, he concludes, is that the creative team made changes to the original material to suit the new medium while allowing the original songwriters to be part of the refitting. This arrangement was generally not in place for other musical films in the 1930s. The writers here chiefly give the reader close readings of primary sources and other archival materials and then argue their own theories regarding the success or failure of the films under study. Each essay historicizes its subject, and there is some terrific archival work in the volume. Most take a comparative approach in analyzing the film(s). Hannah Robbins acknowledges the critical acclaim received by the film version of Kiss Me, Kate (1953) but critiques its erasure of African American characters and the limitations it places on female agency, both of which had been important components of the 1948 stage musical. Amanda McQueen argues for the success of Half a Sixpence (1967) at bringing the film techniques of the Hollywood Renaissance to the musical comedy form, and consequently bringing the genre up to date while noting its critical and financial failure, at least in...

This article examined Augustine’s just war theory through René Girard’s scapegoat mechanism, as posited in his theory of mimetic desire. Augustine, in his development of just war theory, adopted a realist approach to justify the ethical criteria for judging the morality of conflict. Just war theory, in its historical form, interpreted as a positive rule of action based on just war principles that were developed over time. Therefore, through a comparative approach, this article argued the rationality of modern warfare and violence on the notion of the surrogate victim, which is necessary for social order and the formulation of cultures, as posited by Girard. In his corpus, Girard highlights the role of scapegoating and victimisation in the process of unifying a community. Thus, a comparative analysis of just war theory and the scapegoat mechanism can be developed to study the conditions for peace, religious liberty and social cohesion. This article discusses the following points: (1) the modern relevance of just war principles; (2) the effects of scapegoat mechanisms in modern societies and their impact on social order and political discourse; and (3) the role of missio Dei in the context of warfare and violence.Contribution: This article contributes to a comprehensive study of moral philosophy through the thoughts of Augustine and Girard. The convergence between violence, war, peace and justice is studied through anthropology and religious cultural lens. Arguably, this process has the potential to develop an empirical framework to study war and violence acts in our modern polarised world. Furthermore, it considers the ideal praxis for missio Dei in the context of social order and the common good in the 21st century.

The article is devoted to the fate and work of the Ukrainian émigré writer, prose writer, playwright, literary and theater historian, essayist, publisher, translator Igor Kostetsky. Kostecki’s writings (stories, story “Saint’s Day,” plays) are considered: (a) in the hermeneutic, comparative, historical and literary aspects and (b) in the all-Ukrainian and European literary contexts. Thus, a hermeneutic analysis of three plays written in 1945–1947 reveals both structural and semantic differences between them and features of typological similarity. In the play “The Temptation of the Unholy Anton,” the absurd beginning is noted as a meaningforming factor, which gives grounds for comparing the play with the European “drama of the absurd” (A. Adamov, S. Beckett, E. Ionesco). In the plays “The Twins Will Meet Again” and “Action about a Great Man” other tendencies dominate (in the presence of a number of absurdist features): sociopsychological (the theme of duality, mythological archetypes), ideological and moral (discussions about the “legality” of terror for the sake of a lofty goal), philosophical-religious (irrational nature of the Power, its mysterial component, zombified mass consciousness). The typological similarity of the analyzed works is based on the paradigm of modernism common to them, the totality of principles and forms of modernist poetics — the violation of cause-and-effect relationships, temporal and spatial shifts, the method of transforming archetypal images and sacred prefigurations, elements of medieval and baroque stylizations, intertextuality, etc. These features are clearly manifested in a comparative approach to the plays of Kostecki and thematically comparable samples (G. Flaubert’s interpretation of the legend of St. Anthony, the theme of duality in Gogol and Shevchenko, Dostoevsky and Andrei Bely, the mystical beginning in G. Lorca and T.S. Eliot). In historical, literary and theoretical terms, the plays, as well as the main prose works, by I. Kostetsky, his creative heritage as a whole, represent a link between Ukrainian modernism of the 20s. (“The Executed Renaissance”) and modernist, as well as postmodernist trends in modern Ukrainian literature, mark a significant stage on the way to the formation of a national model of modernism.

The article’s authors explore the topical issue of a comparative analysis of the means of reproducing the verb and its grammatical categories in English and Ukrainian. This topic is highly relevant in modern linguistics and language education, as it sheds light on the typological similarities and differences between the two languages. The verb as a part of speech plays a central role in sentence structure and meaning, and its reproduction in different languages reflects deep structural and functional aspects of the language systems under study. The research emphasises the importance of comparative linguistics for theoretical understanding and its practical application in teaching foreign languages. A nationally adapted methodology based on contrastive language learning principles offers significant advantages in the educational process. It increases the effectiveness of learning, enhances memorisation and comprehension, and allows learners to understand better the grammatical and semantic differences between their native language and a foreign one. The comparative approach makes it possible to identify common and divergent features in the morphological and syntactic structures of the English and Ukrainian languages, particularly in the verbal system. Materials derived from the contrastive analysis of grammatical categories may be an effective tool for enhancing the teaching methodology of foreign languages. The structural differences between analytical and synthetic forms, as well as the formation of tenses, aspects, moods, and voice in both languages, are given special attention. The article examines these differences through examples and theoretical explanations, which may serve as a basis for further research in cross-linguistic grammar.

This chapter presents an overview on the genesis of the film’s creation; the novel it was based upon, written by the Strugatsky brothers, Tarkovksy’s first musings on its viability for a screen adaptation, as well as the various predicaments that arose in the film’s now-infamous production period. This includes the highly controversial filming within a contaminated body of water that may or may not have led to two actors and Tarkovsky himself contracting cancer in later years. The chapter also includes a brief summation of the film’s reception both nationally and internationally, as well as Tarkovksy’s subsequent legacy within the larger film community up to present day.

The thematic justification involves demand for detecting and identifying patterns of transformation and modification of ballads by poets of the Silver Age. The twentieth century loved poetry experiments, a game with form, and there are a variety of genres: sonnets, rondos, gazella, pantoons, ballads in the works of symbolists and especially those of the Acmeists. Acmeist ballads reveal a part of the early twentieth century poetic world and contain both the traditional elements of the genre and the features of modernism. The works by Georgy Ivanov, the so-called “youngest acmeist”, who was a member of the Petrograd “Workshop of poets”, presents a variety of lyrical genres. The purpose of our study is to consider the ballads and ballad stylization of G. Ivanov. The purpose of the work determines its methodological basis, which includes the historical and literary, phenomenological, typological and comparative approaches. The stylization which is inherent in all of Ivanov’s ballads (“Song of the Pirate Ola”, “May Ballad”, “Scottish Ballad”, “Ballad about the Publisher”) and his ballad poems, allows to see the genre in a new aspect. The poet observes ballad rules – a tragic plot, romantic “vagueness” of narration, ballad motifs (ominous raven, night stories, turning into the past, etc.). However, these rules are distorted and stylized. Traditional ballad plots are so intensified that forcing the features creates a comic or ironic effect, the combination of motives turns out to be multilayer. G. Ivanov creates a parody in some cases and in some cases, a stylized ballad. The game and the love of stylization which characterize G. Ivanov throughout his creative life open up a new genre that he practically created by himself. Keywords: ballad genre, G. Ivanov, stylization, parody, motive, lyrical plot