Romantic songs by the Turkish ashik Karacaoğlan: key motifs and system of poetic imagery

The subject of the study is the folklore traditions that existed on the territory of the Novgorod region. Veliky Novgorod is an ancient city that played one of the main roles during the formation of Russian culture and art. Various forms and types of folklore developed on his lands, which had a huge impact on the development of folk music in the Russian North, the Urals and Siberia. The objectives of the article include: clarifying the nature of the relationship between the modern administrative borders of the Novgorod region and local folklore traditions spread on its territory; clarifying the areas of these traditions, taking into account the border areas; highlighting the territory of the spread of folklore traditions representing the Novgorod folklore system proper. The methodology of the work is based on the principles of systematic study of folklore, which have developed in Russian science. One of the leading methods is the areal research method. The allocation of musical and folklore areas is carried out taking into account historical and ethnographic factors. The characteristic of local traditions is given on the basis of the genre composition of musical folklore, its stylistic and structural properties. The article establishes the boundaries of the concept of "Novgorod folklore traditions". It can be applied to the folklore and ethnographic system that developed in the settlement zone of the Ilmen Slovene tribe in the early period of Russian history. There are three folklore and ethnographic complexes on the territory of the modern Novgorod region – southwestern, central and eastern. The Novgorod traditions themselves were formed in Priilmenye, but they were most systematically preserved in the eastern part of the region, which was mastered by immigrants from the central zone.

The study of present-day folklore and epic traditions remains an important topic and the evolution of epic prose genres in Yakut literature serves as an evidence to this. A complete turn to the folklore and epic traditions at the new stage of evolution is typical for the genre of historical and philosophical novel. A deeper indulgence into the historical plane and much more prominent manifestations of the moral and philosophical point of views predetermined the new steps in the development of traditional poetic features and olonkho. The focus on the psychological and mental structures of the traditional cultural consciousness predefined the turn to the main source of human memory: myths, legends and olonkho. Novels written by V.S. Yakovlev-Dalan and I.M. Gogolev are prominent examples of turning to the traditional poetic features in the new stage of Yakut literature development. Thus, in their novels, written in the new stage of Yakut literature, we can see features of mythological and folklore and olonkho traditions. Folklore and epic motifs are represented in several planes and on different text levels of the epic plot: in the point of view of the author, in the stylistic features, and in the portrayal of the characters personal traits. This article examines the role of folklore and epic traditions in the process of the modern historical and philosophical novel evolution; as well as to single out the folklore and mythological motifs by implementing historical and literary analysis, typological, conceptual and geocultural methods.

Aim. To consider the symbolic motif of the wolf as the basis for creating an artistic model of the world in M. Sholokhov’s early stories.Methodology. The article uses the procedures of motive and contextual analysis, the method of linguocultural description of mythologemes, analysis of the spatiotemporal organization of the text, and the method of keyword analysis to identify the symbolism of the wolf image.Results. The image of the wolf as a continuous symbolic motif of M. Sholokhov's “Tales from the Don” is analyzed. The main parameters of the motive organization of the stories under consideration are characterized: the ambivalence of the image of the wolf which reveals its contradictory nature; anthropomorphization of the image of a wolf presented in the use of the psychological parallelism technique when comparing the natural and human characteristics of the depicted; the structure of the chronotope is described as a condition for the implementation of the author's intention; thematic vectors of the development of the wolf motif are highlighted, the main ones being the themes of revenge and tragic confrontation in the depiction of the characters’ personalities.Research implications. The paper substantiates the methodology of motive analysis for identifying the symbolic meanings of mythologemes in the relationship between folklore tradition and the author’s world modeling.

Arabic poetry, ancient and modern, remains a feature distinguished by the Arabs, and a distinguishing mark for which they were known, as it flows on the tongues of their poets the flow of water in the river, and flows from their mouths the flow of fresh water from the spring, as it is twittering on their tongues, and hymns that delight the speaker, the listener, the narrator, the reader, and the student Alike, he is the flame that ignited in their world hundreds of years ago, and is still glowing in every country of theirs, and in every age. The Arabic poetry that we are talking about is nothing but words organized into sentences, and not sentences organized into verses only. The contemplator of ancient Arabic poetry stands on wonderful poetic images that the poets installed in whatever form they were, and formulated them in whatever form, so that some of them, or even most of them, were unique in producing these poetic images without others, so this wonderful poetic image became specific to his wonderful poetic experience. I chose to write on this topic because of its importance in the world of poetry and the production of the poem, as a poem devoid of a poetic image is not considered a complete poem. In this research, I will present, study, and analyze some of the wonderful poetic images of some ancient poets, hoping to write another research in which I will deal with examples of the poetic image in modern Arabic poetry. The objective of the research is evident in its importance, and in the research I will approach the methods of description, induction, and analysis. And I wrote a research on the wonderful poetic image in ancient Arabic poetry, so I wanted this research to be a continuation of that research, and a complement to it. To provide a clear picture of the art of beautiful photography in ancient and modern Arabic poetry. And since this research follows the pattern of that research, and completes it, I adopted the same approach to avoid fallacy, affectation, and concavity

The article focuses on social and cultural background of the shifts taking place in the stylistics and contents of Lithuanian love songs. Applying theoretical assumptions from the field of history of emotions, the author analyzes shifting expression of emotions in folksongs on the topic of love. The subject of the article embraces love songs that spread from the 19th to the first half of the 20th century and were shaped not only by the folklore tradition, but also by Lithuanian and foreign poetry of the time, and by popular romances. These compositions differ in terms of poetic quality, displaying both the traditional folksong elements and changing attitudes by the singers and people that are depicted in the songs, as well as a new vocabulary of emotional expression. Applying insights by Peter N. and Carol Z. Stearns (1985) regarding the society’s standards on the expression of emotions, and the concept of emotive, or emotional statement, introduced by W. Reddy (2001), the author regards the shifting expression of emotions in love songs as a reflection of emotionality spreading in written culture (primarily poetry) of the 19th century. Utterances of love-related emotions are essentially perceived as manifestations of the changing poetic vocabulary. The first chapter discusses social and cultural conditions of the changing folksongs, concentrating mostly on the notion of love and its significance in traditional Lithuanian peasant family, and the spread of literacy in the 19th century. The growth of written culture is considered a factor in introducing tropes and prototypes of emotional language that express the notion of romantic love into the sphere of folksong. The second chapter analyzes the relationship between love songs and individual poetry. Various collections of Lithuanian folksongs published in the 19th century, as well as their publications in the press testify to the process of interaction between written and oral culture gaining momentum at that time. This process was further stimulated by the increase of Lithuanian poetry composed by representatives of Lithuanian intelligentsia and literati with roots among the small noblemen and peasants; their compositions were significantly influenced by foreign poetry. Romantic lyrics also grew popular among the peasants. The third chapter explores the distinction between classical folksongs that encode communication of the young people in symbols and draw on the ritual code, and the new love songs that preserve traditional images but lose their symbolic meaning and ritual orientation. The author concludes that these new love songs employ a predominantly poetic vocabulary of emotional expression typical to written culture, their folkloric formulas mixing with new phrases yet unpolished by the tradition and straightforwardly naming certain emotions; a direct relation between “I” and “you” becomes more prominent too. She discusses samples of folksongs that directly name love and openly depict such related emotions as worry, sorrow, or anger, and loveʼs parallel with death.
 To sum up, it is stated that expressions of personal emotions increasingly become established in the new love songs. Although such expressions are frequently artistically rough and unpolished, they testify to the necessity of mastering new means of poetic expression, acutely felt by the newly literate people. Moreover, the songs also expand the semantic field of love, associating this feeling with intense emotions, overwhelming anxiety and longing, while the absence of love is conceptualized as a failing health and lost inner peace. Obviously, the stylized and frequently sentimental poetic vocabulary of emotional expression, characteristic to individual poetry affected by foreign literature and romances, presented new possibilities to discuss emotions in folksongs. These practices should be regarded mainly as “legitimization” of a new emotionally expressive rhetoric in the sphere of folkloric communication rather than a direct testimony to the experienced feelings.

Folklore traditions played a key role in spiritual development of the Kalmyk people and served the fertile ground for the national fiction. Due to ethnic changes many genres of Kalmyk folklore were lost in the era of globalization, however some examples of small oral poetic genres: йөрәлмүд (wishful thinking), магталмуд (praises), үлгүрмүд (proverbs), etc. are important for modern society since they preserve the national identity of the Kalmyks. It shall be noted that the use of aphoristic expressions representing reminiscence of Kalmyk national wishful thinking is one of the popular traditions in modern Kalmyk fiction. Thus, wishful thinking along with other small folklore genres is organically embedded into a compositional literature complex. They perform various functions: characterize a hero, are used at the beginning of a plot, a narration, at the end of some of its parts, express the emotional state of characters. In their figurative system they reflect the originality of material and spiritual culture of the nation at different stages of historical development. It is clear that throughout its long period of existence the genre of wishful thinking of the Kalmyks did not lose its informative, social, esthetic and educational value. Further comprehensive study of the aphoristic poetry of the Kalmyks in comparison with works of other Mongolian people seems quite relevant. The methodology of the study includes system analysis, use of data from modern domestic and foreign historiography, study of world literary criticism and achievements of western representatives of historical and philological school and Russian scientists.

Linguistic creativity is currently attracting a lot of scientific attention. Such scientists as V. P. Korovushkin, J. Falojou, O. K. Iriskhanova, A. V. Galkina, and V. Z. Demyankov define linguistic creativity as a person's ability to create and use original, non-standard linguistic means and techniques, which is mainly used in personal discourse, i.e. in fiction narrative, everyday speech, or phatic discourse. The present research featured authentic linguistic creativity in the modern comic book series called "Besoboi". Authentic linguistic creativity means the author's ability to use and generate new original, non-standard linguistic means, and techniques, or to commit deliberate linguistic violations at various language levels in their own text. The research objective was to identify and describe linguistic means, techniques, and violations that make up the linguistic creativity in the text of the Russian comic book series "Besoboi". The author analyzed works by Russian and foreign scientists in the field of linguistic creativity, fiction, and language violations. The study was based on the methods of description, interpretation, comparison, and generalization. The author's linguistic creativity manifested itself in the comic book as an ability to generate innovative words and use such stylistic devices as parody, oxymoron, alliteration, lithotes, hyperbole, pun, etc. In addition, the text contained a lot of original idioms, epithets, and similes. However, there is a tendency to classify many of these expressive means and techniques as linguistic violations, grammatical or stylistic. The author's creativity also manifested itself in the fictional world, unusual plots, new types of heroes, e.g. a superhero with mystical abilities, demons, etc. All linguistic transformations on the level of phonetics, spelling, derivation, vocabulary, and grammar are deliberate, and so are the communicative deviations, as the author generates and uses them deliberately to achieve a certain effect.

Arabic poetry, ancient and modern, remains a feature distinguished by the Arabs, and a distinguishing mark for which they were known, as it flows on the tongues of their poets the flow of water in the river, and flows from their mouths the flow of fresh water from the spring, as it is twittering on their tongues, and hymns that delight the speaker, the listener, the narrator, the reader, and the student Alike, he is the flame that ignited in their world hundreds of years ago, and is still glowing in every country of theirs, and in every age. The Arabic poetry that we are talking about is nothing but words organized into sentences, and not sentences organized into verses only. The contemplator of ancient Arabic poetry stands on wonderful poetic images that the poets installed in whatever form they were, and formulated them in whatever form, so that some of them, or even most of them, were unique in producing these poetic images without others, so this wonderful poetic image became specific to his wonderful poetic experience. I chose to write on this topic because of its importance in the world of poetry and the production of the poem, as a poem devoid of a poetic image is not considered a complete poem. In this research, I will present, study, and analyze some of the wonderful poetic images of some ancient poets, hoping to write another research in which I will deal with examples of the poetic image in modern Arabic poetry. The objective of the research is evident in its importance, and in the research I will approach the methods of description, induction, and analysis.

Human gait is an important biometric index that allows to identify a person at a great distance without direct contact. Due to these qualities, which other popular identifiers such as fingerprints or iris do not have, the recognition of a person by the manner of walking has become very common in various areas where video surveillance systems can be used. With the development of computer vision techniques, a variety of approaches for human identification by movements in a video appear. These approaches are based both on natural biometric characteristics (human skeleton, silhouette, and their change during walking) and abstract features trained automatically which do not have physical justification. Modern methods combine classical algorithms of video and image analysis and new approaches that show excellent results in related tasks of computer vision, such as human identification by face and appearance or action and gesture recognition. However, due to the large number of conditions that can affect the walking manner of a person itself and its representation in video, the problem of identifying a person by gait still does not have a sufficiently accurate solution. Many methods are overfitted by the conditions presented in the databases on which they are trained, which limits their applicability in real life. In this paper, we provide a survey of state-of-the-art methods of gait recognition, their analysis and comparison on several popular video collections and for different formulations of the problem of recognition. We additionally reveal the problems that prevent the final solution of gait identification challenge.

Human gait is an important biometric index that allows to identify a person at a great distance without direct contact. Due to these qualities, which other popular identifiers such as fingerprints or iris do not have, the recognition of a person by the manner of walking has become very common in various areas where video surveillance systems can be used. With the development of computer vision techniques, a variety of approaches for human identification by movements in a video appear. These approaches are based both on natural biometric characteristics (human skeleton, silhouette, and their change during walking) and abstract features trained automatically which do not have physical justification. Modern methods combine classical algorithms of video and image analysis and new approaches that show excellent results in related tasks of computer vision, such as human identification by face and appearance or action and gesture recognition. However, due to the large number of conditions that can affect the walking manner of a person itself and its representation in video, the problem of identifying a person by gait still does not have a sufficiently accurate solution. Many methods are overfitted by the conditions presented in the databases on which they are trained, which limits their applicability in real life. In this paper, we provide a survey of state-of-the-art methods of gait recognition, their analysis and comparison on several popular video collections and for different formulations of the problem of recognition. We additionally reveal the problems that prevent the final solution of gait identification challenge.

Human gait is an important biometric index that allows to identify a person at a great distance without direct contact. Due to these qualities, which other popular identifiers such as fingerprints or iris do not have, the recognition of a person by the manner of walking has become very common in various areas where video surveillance systems can be used. With the development of computer vision techniques, a variety of approaches for human identification by movements in a video appear. These approaches are based both on natural biometric characteristics (human skeleton, silhouette, and their change during walking) and abstract features trained automatically which do not have physical justification. Modern methods combine classical algorithms of video and image analysis and new approaches that show excellent results in related tasks of computer vision, such as human identification by face and appearance or action and gesture recognition. However, due to the large number of conditions that can affect the walking manner of a person itself and its representation in video, the problem of identifying a person by gait still does not have a sufficiently accurate solution. Many methods are overfitted by the conditions presented in the databases on which they are trained, which limits their applicability in real life. In this paper, we provide a survey of state-of-the-art methods of gait recognition, their analysis and comparison on several popular video collections and for different formulations of the problem of recognition. We additionally reveal the problems that prevent the final solution of gait identification challenge.

The article reveals the similarities and differences in the English translations of the poems by two Polish women-writers on the same topic – A. Swir and W. Szymborska. The analysis rests on comparison and contrast. Both writers present the post-war reality in Poland using different methods of description, different poetic images which help demonstrate the authors’ individual attitude to female issues.

IntroductionExperts say that the development of sports science requires a search for new, effective approaches to optimize sports training of athletes. These requirements apply to the judo, training and competition preparation which are in need of significant changes (Bocioaca, 2014; Peset, Ferrer-Sapena, & Aleixandre-Benavent, 2013). In the scientific literature there are many works related to various aspects of the preparation of judo fighters in competitive activityHowever, experts believe that the increase of sportsmanship of athletes and the development of the scientific base dictate the need for further research in the field of combat sports (Pryimakov, Iermakov, & Juchno, 2016), and especially judo (Challis, Scruton, & Pierantozzi, 2015).Significant attention, according to experts, should be given to technical and tactical training to the judokas competitive activities (Osipov, Kudryavtsev, & Plotnikova, 2016). L. Bocioaca claims that technical and tactical preparedness of athletes are fundamental factors for successful performance in competitions in judo (Bocioaca, 2014). M. Malliaropoulos believes that there is a lack of research on injuries in judo. The frequency and severity of injuries received by athletes should be the subject of in-depth scientific analysis (Malliaropoulos, Callan, & Johnson, 2014). E. Pocecco, claims that a comprehensive knowledge about the causes of injury are the basis for the development of effective injury prevention strategies in judo (Pocecco, Ruedl, & Burtscher, 2013).Some experts suggest to pay more attention to the problem of using effective control methods over the functional state of the wrestlers (Qiang, 2015; Osipov, 2007). In modern conditions the sports training process of preparation of of athletes should be based on the access to objective and timely information about the level of their physical state. Receiving this information makes it necessary to organize permanent monitoring over the training activities of the fighters (Osipov, Kudryavtsev, & Zakharova, 2016; Tron, Ilyin, & Bitsyura, 2013).A literature analysis reveals that modern judo, in spite of the existing scientific knowledge about this form of combat sports, still offers professionals a vast field for research. The aim of research of article's authors was to analyze the existing scientific views of Russian and foreign experts (coaches, athletesand scientists) on the main aspects of quality training judo to competitive activity.Material & methodsDissertations and scientific articles by Russian and foreign scientists on various aspects of the preparation of judoists were studied by methods of structural and system analysis. For a detailed study, authors have taken the time interval from 2004 to 2016 (3 Olympic cycle training athletes). During this period, Russian scientists have published 41 dissertation and more than 200 articles in peer-reviewed scientific journals. The entire volume of Information was structured according to areas of research. Then, using the scientific comparison method, the authors attempted to determine the similarities and contradictions in the views of Russian and foreign experts on various aspects of the training of qualified of judo wrestlers.ResultsAnalysis of the scientific works of Russian scientists during the monitoring period allowed the authors to highlight three important areas of research. The first and the most significant area is training and competitive activities of athletes. In this area presented 38 dissertations and more than 150 articles in peer-reviewed scientific journals. Researches affect the planning of the training process, the technical and tactical training of judoists, physical and psychological preparation of fighters. Most Russian experts agree on the need for individualization of training process in judo. It is proposed to take into account the level of physical (Poleva, Zagrevskiy, & Podverbnaya, 2012; Maksimov, 2009; Mitskevich, 2009) and the technical and tactical training of fighters in the planning of training capacity (Koptev, 2016; Pashuta, & Vavilkin, 2013). …

INTRODUCTION. The aim of the work is to determine the genre-generic and compositional originality of the “Ode to the Russian Vegetable Garden” – one of the most striking and original works of V. Astafyev – in comparison with other works of the Russian prose writer and his contemporaries.MATERIALS AND METHODS. As materials for the study we took the most authoritative literary works on the novelist’s work, texts of Astafyev’s works of 1960-1990s, which need to be clarified and defined in their generic and genre-compositional specificity by methods of comparison and structural analysis.RESULTS AND DISCUSSION. The result of the study is the conclusion substantiated by the structural analysis of the work, confirmed by numerous references to the text of “Ode to the Russian vegetable garden”, that Astafyev’s “Ode”, being a phenomenon, universal in problem and theme terms, demonstrates a close connection of V.P. Astafyev’s creativity with “Village prose”. “Ode to the Russian Vegetable Garden” turns out to be a deeply original, traditional and synthetic phenomenon in generic and genre-compositional terms. A significant mythopoetic component of the “Ode” is defined and interpreted; the influence of fairy-tale, “Raeshny” and other folklore traditions in Astafyev’s “Ode” is commented on. The influence of literary traditions of the past and the context of Russian literature of the 1960–1990s as a whole on the structure of Astafyev’s work is characterized. The strong rootedness of the central image of the “Ode to the Russian Vegetable Garden” in the mature and late works of the writer is noted.CONCLUSION. The article proves that the «Ode to a Russian Vegetable Garden» synthesizes the formal and substantive properties of the epic and lyric poetry, elements of an ode, hymn, idyllic, pastoral, bucolic and other genre varieties of lyric poetry with a prose narrative form, with “Raeshny” verse, with a fairy tale, with parody and its various comic techniques. The techniques and elements of the poetics of the ridiculous used by V. Astafyev are characterized and analyzed.

The study aims to elucidate the interdisciplinary perspective of folklore studies and arts-based research (ABR), focusing on the novelization of traditional stories to strengthen character education. An interdisciplinary perspective on language, literature, art, and education studies is employed to investigate how traditional folklore can be re-created through creative literary endeavors. Using an ABR qualitative research design, preceded by realist ethnographic research and in-depth character content analysis, this study explores the complexities of transforming oral traditions into written narratives, emphasizing the role of artistic interpretation in preserving cultural heritage and values. The steps of ABR are carried out through comparative data, literature review, and analysis of art practices of the selected traditional stories for their new adaptation. The results show that the folklore (legend) of Raden Alit has three variants. The variants teach about the values of religiousness, nationalism, independence, cooperation, and integrity. The variants of the Raden Alit folklore (legend) can be combined and transformed into a novel (didactic literature) through the six stages of the creative process of fiction-based research (FBR) design, which is part of arts-based research. The implications of this research are essential for socio-cultural in the contemporary context because it is relevant to the preservation and dissemination of cultural heritage. By integrating insights from folklore studies, literary analysis, and artistic practice, this study contributes to an emerging interdisciplinary research field. It offers valuable insights into the transformative potential of arts-based approaches to preserving and disseminating traditional folklore.