Heroic Tale Research Articles

Kesar Saga: A Critical Perspective of Ladakh

Ladakh is bounded by rich folklores, folktales, and folk ballads. Out of all the stories, the Kesar saga is the most popular and loved by one and all. All the people of the Ladakh region have grown up listening to the Kesar saga. The epic Kesar has influenced both the Buddhist and the Muslim communities of the region of Ladakh. Though it is the dominating folktale of the region, yet not much research has been done on the subject till date and hence, it needs to be studied properly. In this connection, I am attempting to reimage this heroic tale from the Ladakhi perspective and also to preserve it in the changing times especially when folk narratives are snatched by modern technologies. The attempt is also to make the lesser-known Himalayan regional literature known to a larger audience. Generally, the tradition of storytelling is an important part of Ladakhi culture and tradition, but today due to modern technology like mobile gadgets, television, etc. people are seen drifting away from their traditions keeping themselves busy in their own world of modernism. As a result, today this important practice of oral storytelling is fast vanishing. Therefore, bringing the stories in writing is becoming more urgent than before. So, in the future with technological development; the stories may stay as a source of entertainment and knowledge to the book readers.

Exploring collaborative scriptwriting and virtual drama performance: Enhancing English language education through technology integration

The present study elaborates on the process of collaborative scriptwriting for drama and the implementation of virtual platforms for theatrical performances. The qualitative design approach was used to provide a detailed explanation of how the virtual drama performance about The Spread of Islam in the 16th Century by Ratu Bagus Kuning was rehearsed and recorded. The subject of the study was 18 graduate school students who took the Appreciation and Literature Teaching course in a Graduate School of English Education at a state university in Indonesia. The data obtained from observation, interview, and documentation were analyzed by utilizing a thematic process. The result of the study reveals two main findings: it emphasizes innovative scriptwriting and video presentation in virtual educational drama, and it also shows the communication, cooperation, critical thinking, and creativity involved in writing drama scripts and performing virtually. The study highlights the process of collaborative drama script writing, focusing on Palembang’s heroic tale of Ratu Bagus Kuning. Using the university’s LMS for dialogues, research, and creative collaboration, students prepared for a virtual drama performance. They paired up to draft scenes, actively applying 21st-century skills, such as critical thinking and creativity. Peer feedback and revisions improved script quality. Despite continuity issues and technical constraints, students showed resilience and adaptability. Rehearsals and the final virtual performance demonstrated their dedication and innovation. The integration of technology and cultural sensitivity highlighted virtual drama’s transformative potential, emphasizing communication, collaboration, critical thinking, and creativity.

МЕНТАЛЬНАЯ ЛЕКСИКА В ТЕКСТЕ ХАКАССКОГО ГЕРОИЧЕСКОГО СКАЗАНИЯ «АЛБЫНЧЫ»

Our research is devoted to the identification and description of one of the fragments of the folklore-linguistic picture of the world – the semantic field of mental vocabulary based on the material of the Khakas heroic legend Albynchy. The interest in this linguistic representation of the characters' image stems from the principle of the anthropocentric paradigm, which represents the study of the inner world of a person, in particular, their psychological and mental functions. We understand a mental vocabulary as lexemes that not only name the process, the state of the subject, but contain elements of its description in their semantics and indicate the ethnic specifics of perception, understanding, cognition of the surrounding reality by an individual linguistic personality or the ethnolinguistic community as a whole. The purpose of the study is to identify and describe the semantic and functional structures of a mental vocabulary based on the material of the specified work of oral folk art. The tasks set to achieve this goal are related to the anthropocentric paradigm, i.e. the issues of revealing the human phenomenon through language. The relevance of the research is due to the insufficiency of research on the lexical system of the language of the Khakas heroic tales and the need to develop their linguistic and folklore paradigm as an independent scientific direction. The novelty of the research lies in the fact that mental vocabulary based on folklore material becomes the subject of special research for the first time. Based on the material of the Khakas heroic tale Albynchy the field of mental vocabulary turned out to be few. These include two basic verbs (сағын- ‘to think’, пiл- ‘to know’); verbal synonymous constructions; nouns – synonyms with the general meaning “mind, thought, reason” (ис, ағыл, сағыс), one cliched expression (ис ирт-, ағыл ас- ‘reason to pass by, lose your mind’), the phraseology of сағыс кiр- ‘the mind to enter’, describing the processes of mental activity and mental states of the characters. The study revealed that the semantic structures of these means of expressing mentality differ significantly from the contents of common-language dictionary variants, since the system of traditional folklore texts primarily reflect the ideological orientations and attitudes of the ethnic group. The conceptual basis of the set of mental representations is the categorical polarity of assessments: positive and negative in the absence of a neutral one. We see the prospects for the study of the language of heroic tales in deeper and more thorough developments of both individual lexical groupings and conceptual spheres, which contribute to the development of the Turkic interdisciplinary directions “folklore-linguistic picture of the world” and “linguofoloristics”.

Verbal representation of the emotional world of heroes: based on the material of the Khakass heroic legend «Албынҷы»

The language of the heroic tale is a complex system that encodes information about the national, ideological, cultural foundations of an ethnic group, and is significantly different from the literary and colloquial styles of the modern language. Despite the fact that the texts of heroic tales have always aroused the scientific interest of researchers, their linguistic categories have not yet received sufficient study. The purpose of our article is to identify and describe the linguistic (in particular, verbal) expression of the emotional world of heroes. The material for the functional-semantic analysis was the verbal vocabulary with the meaning of emotion, collected by continuous sampling from the text of the Khakass heroic legend «Албынҷы». According to our information, this folklore monument contains 19 verbs, 3 phraseological units and 1 clichéd expression representing the emotional world of epic characters. The small number of representatives of the emotional world of heroes is compensated by their ambiguity and, accordingly, their ability to cover all the necessary aspects of emotional activity. The work used descriptive (descriptiveanalytical) and functional-semantic research methods. The relevance of our research is due to the insufficient knowledge of the language of Khakass heroic tales, in particular, the verbal sphere from the perspective of the anthropocentric paradigm, as well as the small number of special works on this topic based on the material of other Turkic folklore texts. The novelty of the research is that for the first time, not only in Khakass, but also in other Turkic languages, verbs expressing the emotional experiences of heroes are considered as an irreplaceable and important fragment of the folk-linguistic picture of the world. During the analysis of linguistic material, it was revealed that epic heroes can experience the following emotions: anger, surprise, excitement, fear, compassion, shame, love (more precisely, dislike), suffering, grief, which are expressed by stylistically neutral, frequency verbs. And also the verbal vocabulary with the meaning of crying and laughter stands somewhat apart from them, since its content equally contains emotions and the physiological reaction of the subject to the corresponding emotional stimuli. Clichéd expressions and phraseological units also add shades of color and originality to the process of emotional activity. Linguistic folkloristics, as a new direction in Khakassian studies, is at the initial stage of its development. The language of Khakass heroic tales has many unstudied, unsolved, and therefore interesting conceptual fields in the lexical-semantic, functional-semantic, semantic-cognitive, linguocultural aspects. We believe that this topic has good linguistic potential and prospects for future research.

Традиции чувашского и калмыцкого сказочного эпоса

The article is devoted to a long-term dispute about the peculiarity / non-property of the fairy tale genre of the typical features of the heroic epos. On the basis of the historical-typological method and the method of plot analysis, the corpus of texts of the Chuvash and Kalmyk fairy tale epic has been studied. The study considers the main works devoted to this problem, compares the relevant Chuvash texts with the Kalmyk fairytale epic, points to the incorporation of the biography and exploits of the fairytale hero in the heroic epic “Dzhangar”. The author also considers such blocks of heroic matchmaking as the childlessness of parents, a miraculous origin, heroic childhood and martial arts. All these motives are inherent in both the heroic tale and the heroic epic. The heroic traditions of the Chuvash and Kalmyk fairy tale epic are expressed in ethno-cultural realities, plot, epic motifs, and artistic devices. At the same time, researchers have no reason to talk about the complete identity of the ideological and artistic complex of the heroic epic and the heroic tale. The heroic epic and fairy tale are essentially differentiated genres. Here, one can speak as much as possible about the epic nature of heroic tales, about similarities and diffusion, but not about complete identity, and, naturally, there is no need to complete the magic-heroic tale to the classical epic. The publication contributes to the substantiation of the main features of the heroic epos in the heroic tale.

REVISIONISM: CHALLENGING THE CANON THROUGH THE REVISIONARY NARRATIVES OF WIDE SARGASSO SEA AND FOE

Revisionism is the exercise of revising or reforming of one’s point of view to a previously held belief or accepted viewpoint of a situation. In literature, revisionism is the retreading of a canonical text through a different point of view. Jean Rhys’s Wide Sargasso Sea is one such retelling of the story of the canonical text of Jane Eyre, by Charlotte Bronte, from the viewpoint of the minor character Bertha Mason. While Jane Eyre tells the story of a simple girl, Jane Eyre, and the happy ending of her romantic narrative, this paper will study Wide Sargasso Sea as a revisionary text that picks up the minor narrative of Bertha Mason as Antoinette, a Creole heiress, making it a tragic feminist grand narrative of postcolonial response to the romantic tale of Jane Eyre. Similarly, J. M. Coetzee’s novel Foe is a revisionary text based on the canonical text Robinson Crusoe by Daniel Defoe. Placing a woman in a male dominated world, the novel Foe highlights the issues of patriarchal oppression, colonial oppression, authorial tyranny, and language and power, which remain hidden in the romantic canonical narrative of Crusoe’s adventurous life and his valorous escape from the island where he was stranded for twenty eight years. This paper will trace the difference of a woman’s life and journey than a man’s in a world ruled by patriarchal laws. Moreover, this paper will establish the novel Foe as a revisionary text that retells Defoe’s Robinson Crusoe from a realistic and colonial point of view instead of a heroic tale.

The Japanese Red Cross Society’s Emergency Responses in Hiroshima and Nagasaki, 1945

Abstract The previously unstudied records of the Japanese Red Cross Society (JRCS) narrate the heroic tale of the Red Cross personnel who carried out the organisation’s emergency response in the immediate aftermath of the nuclear detonations in Hiroshima and Nagasaki in August 1945. Aid workers began relief activities on the day of the bombings, while many themselves were suffering from injuries and radiation sickness. They treated civilians, soldiers, and Allied POWs without discrimination. Why did these aid-givers choose to work for the Red Cross in the face of such extreme risk? Why were they willing to walk into ground zero to render aid to survivors? JRCS records make clear that, as well-trained nurses and doctors, most aid workers understood the mortal dangers they faced from radioactive poisoning. This article argues that their actions in Hiroshima and Nagasaki were attributable to strict quasi-military training, which transcended the ideology of the JRCS as an imperialist institution. Their emergency responses demonstrate the extent to which Red Cross workers had internalised their professional mission as medical aid-givers and eventually emerged as exemplars of the humanitarian relief ideal.

СЕМАНТИЧЕСКИЕ ТИПЫ КАУЗАТИВНЫХ ГЛАГОЛОВ В ТЕКСТАХ ХАКАССКИХ ГЕРОИЧЕСКИХ СКАЗАНИЙ

Рассматриваются семантические типы каузативных глаголов хакасского языка, нашедшие отражение в текстах хакасских героических сказаний «Алтын Арыг» и «Ах Чибек Арыг», записанных от популярного народного сказителя Хакасии С. П. Кадышева (1885–1977), «Ай Хуучын» и «Айдолай», записанных от сказителя П. В. Курбижекова (1910–1966), «Хара Хусхун», записанного от сказителя П. В. Тоданова. Актуальность данного исследования связана с тем, что каузативные глаголы активны в употреблении и представляют большой интерес для исследователей-лингвистов. Необходимость изучения семантических типов каузативных глаголов в текстах хакасских героических сказаний вызвана неразработанностью данного вопроса на сегодняшний день, чем и определяется новизна исследования. Целью статьи является выявление семантики и функционирования каузативных глаголов в текстах хакасских героических сказаний. В задачи исследования входит выявление всех каузативных глаголов, встречающихся в текстах героических сказаний; определение и анализ каузативных аффиксов, участвующих в образовании каузативных глаголов; выявление словообразовательных моделей каузативных глаголов, представленных в текстах героических сказаний. Анализ фактического материала проводился с использованием комплекса лингвистических методов и приемов. Наиболее перспективным при решении поставленных задач были признаны метод сплошной выборки примеров, предусматривающий подбор примеров для анализа и выписывание из текстов героических сказаний подряд всех встречающихся в нём примеров анализируемого типа, описательный метод для выявления каузативных глаголов и их последовательного описания с точки зрения их структуры и функционирования. Метод дистрибутивного анализа позволил выявить валентность каузативного глагола. В результате исследования выявлены и проанализированы семантические типы каузативных глаголов, а именно, фактитивный, пермиссивный и фактитивно-рефлексивный, пермиссивно-рефлексивный типы; определены актуальные для языка героического эпоса словообразовательные модели каузативных глаголов. Для глаголов с фактитивной семантикой выявлено пять словообразовательных моделей; для пермиссивной – три модели; фактитивно-рефлексивный и пермиссивно-рефлексивный по одной модели. Исследование также показало, что в текстах хакасских героических сказаний часто используется двойной каузатив, который выражает как фактитивное, так и пермиссивное значение. Полученные результаты могут найти применение при чтении лекционных курсов по хакасскому языку на филологических факультетах вузов, при составлении учебных и учебно-методических пособий, словарей. В перспективе интересные результаты могут дать исследования каузативных конструкций, характерных для текстов героических сказаний, в сопоставительном и сравнительно-типологическом освещении.

Friendship and Virtue Ethics in the Book of Job

Friendship and Virtue Ethics in the Book of Job

El mito inagotable. Estudio de las reescrituras del mito de Sigfrido a lo largo de trece siglo

This paper analyses all major appearances of the myth of Siegfried, from the earliest AngloSaxon texts, through the great narratives of the high Middle Ages, to its modern use by 19th century nationalism. The review allows not only to verify the logic of adaptation according to the intention of each of the texts, but also to make a history of the use of the legend which reveals, on the one hand, the ideological constant in the appropriation of the story and, on the other hand, how the legend of Siegfried is the last survivor of a type of heroic tale, that of the hero-king, which begins to be replaced in the the literature of the high Middle Ages.

ПРОБА ПЕРА: О НЕОПУБЛИКОВАННОЙ СКАЗКЕ ЛЬВА КУЗЬМИНА «ЗВЕЗДА СЧАСТЬЯ»

The article provides a literary analysis and historical-literary commentary on the unpublished tale of the Perm writer Lev Ivanovich Kuzmin (1928‒2000). The text entitled The Star of Happiness is a manuscript (typewritten) signed by the author himself. It was found in the personal archive of the writer stored in the Perm Local History Museum. The article provides attribution, approximate dating of the manuscript, and the analysis of the structure and genesis of the text. The fairy tale The Star of Happiness , presumably written before Lev Kuzmin’s move to Perm, in Pushkin (Tsarskoye Selo) or in the Kemerovo region, where Kuzmin worked as a construction worker, became the first literary experience of the novice writer. The analysis of the genre nature of the text and its structure was conducted in accordance with the methodology of the fairy tale analysis proposed by V. Ya. Propp and in correlation with the existing indexes of fairy tales. It showed that the tale by L. I. Kuzmin contains some reduced properties of the epic, the tale (legend), rudiments of the heroic epic (heroic fairy tale), united by the genre form ‘novina’, characteristic of the Soviet culture of the 1950s. Novina is stylization of folklore devoted to an important (usually political) event. The reason for the creation of the fairy tale The Star of H appiness was the agreement between the Soviet Union and the People’s Republic of China as well as Mao Zedong’s visit to Moscow in 1949–1950. In addition to the archival materials, the comments of the writer’s son Andrei Lvovich Kuzmin are used in the paper. The analysis helps to clarify the components of Lev Kuzmin’s literary heritage and the mechanisms of functioning of dictatorial, political, literary, and folk discourses in the mass consciousness of the 1950s.

On the Heels ofJuan Moreira:Lessons for the Cultural History of Reading

Between November 1879 and January 1880, the argentine author Eduardo Gutierrez published a serialized narrative of the life of Juan Moreira in the Buenos Aires newspaperLa Patria Argentina.Titled simplyJuan Moreira,the heroic tale of the real-life outlaw went like this: Moreira was a good gaucho gone bad, who fought to preserve his honor against the backdrop of modernizing forces that were transforming life in this part of South America. His string of crimes and ultimate downfall resulted from his unjust persecution by corrupt state officials. The success of the serial surpassed all expectations. The paper's sales skyrocketed, and the melodramatic narrative soon appeared in book form. Enterprising printers produced tens of thousands of authorized and pirated editions to sell in the Rio de la Plata (Argentina and Uruguay), makingJuan Moreiraa leading example of everyday reading for the region's rapidly growing literate population and one of Latin America's pre-twentieth-century bestsellers (Acree,Everyday Reading;Gutiérrez,The Gaucho Juan Moreira).

The problems of the evolution of the poetic forms of the epic “Dzhangar”

Проблемы эволюции поэтических форм и эпического историзма являются одними из актуальных в эпосоведении. Историко-генетические и историко-типологические исследования эпических памятников позволяют системно на диахронном и синхронном уровнях проследить историческую и эстетическую динамику национального эпоса. Учитывая тот факт, что эволюция фольклора определяется закономерностями историко-типологического характера, реализуемыми в рамках целостной традиции, имеющей полистадиальный и полигенетический характер, перед нами стоит задача рассмотрения развития эпоса «Джангар» и его форм. Одной из важных проблем является проблема установления закономерностей развития эпоса, изучение не только его художественной формы, но и тех закономерных изменений, которым она подверглась. Проблемы историзма эпических форм Джангариады в настоящем исследовании рассматриваются в эволюционном развитии от древних до поздних – героический миф, богатырская сказка, архаический эпос, классический эпос, эпический цикл, поздняя богатырская сказка, а также процессы трансформации и вторичной архаизации. В своей исторической и эстетической динамике эпос «Джангар» прошел эволюционный путь развития от древних форм «сказочного богатырского эпоса» до циклизованного эпоса. Вершиной эволюционного развития эпоса «Джангар» отмечается «концентрическая циклизация», связанная с проявлением этнического самосознания и историческими процессами племенной консолидации и раннегосударственных образований. Особое значение отводится центральноазиатской и локальным этническим традициям, в рамках которых формировался и бытовал эпос «Джангар». Автор приходит к выводу, что историзм и эволюциях поэтических форм эпоса «Джангар» обусловлена поэтико-воззренческими особенностями его историзма и спецификой развития этнической культуры. Несмотря на изменчивость художественно-поэтических форм, эпос «Джангар», обладающий полистадиальной природой, наследует рудиментарно архаические черты на уровне сюжетов и мотивов и воссоздается на основе традиционных элементов по жанровым моделям и канонам, получив творческую переработку в новых исторических условиях. В перспективе, по данной проблематике, следует провести сравнительно-типологические исследования национальных версий «Джангара», с привлечением памятников центральноазиатской эпической традиции. The problems of the evolution of poetic forms and epic historicism are some of the topical issues in epic science. Historical-genetic and historical-typological studies of epic monuments allow systematically at the diachronic and synchronous levels to trace the historical and aesthetic dynamics of the national epic. Considering the fact that the evolution of folklore is determined by the regularities of the historical-typological nature, realized within the framework of an integral tradition, which is poly-stage and polygenetic in nature, we face the task of considering the development of the epic “Dzhangar” and its forms. One of the important problems is the problem of establishing patterns of development of the epic, studying not only its artistic form, but also those natural changes that it has undergone. The problems of historicism of the epic forms of Dzhangariada in this study are considered in the evolutionary development from ancient to late – the heroic myth, the heroic tale, the archaic epic, the classical epic, the epic cycle, the late heroic tale, and the processes of transformation and secondary archaization. In its historical and aesthetic dynamics of the epic “Dzhangar” the evolutionary way of development has passed from the ancient forms of the “fantastic hero epic” to the cyclized epic. The peak of the evolutionary development of the epic “Dzhangar” is marked by “concentric cyclization” associated with the manifestation of ethnic self-awareness and historical processes of tribal consolidation and early state formations. Of particular importance is the Central Asian and local ethnic traditions within which the epic “Dzhangar” was formed and lived. The author comes to the conclusion that the historicism and evolution of the poetic forms of the epic “Dzhangar” is due to the poetic and visionary peculiarities of its historicism and the specifics of the development of ethnic culture. Despite the variability of artistic and poetic forms, the epic “Dzhangar”, possessing a poly-stadial nature, inherits rudimentary archaic features on the level of subjects and motifs and is recreated on the basis of traditional elements in genre models and canons, having received creative processing in new historical conditions. In the long term, on this issue, comparative-typological studies of the national versions of the “Dzhangar”, should be conducted with the involvement of the monuments of the Central Asian epic tradition.

Narrative Disjunctions in Beowulf

ABSTRACTBeowulf includes numerous narrative discontinuities. These disjunctions enable the relatively short poem to possess the scope and breadth of an epic. The most obvious of these disjunctions is the abrupt transition between part I of the poem, Beowulf’s youthful deeds, and part II, his heroic death tale. This break, the only disjunction that calls attention to itself, signals a change of genre. Other discontinuities are more subtle, and some can escape the audience’s notice. Hroþulf appears late, and then disappears. A cowardly retainer becomes the trusted messenger. The dragon’s treasure is concealed by the last survivor, and also by ancient kings who curse it. Beowulf’s men do not expect to survive the night in Heorot, and yet they fall asleep. All these disjunctions contribute to the unusual narrative structure, and they serve as guideposts to the concerns of the poet and the meaning of the poem and its parts.

К ПРОБЛЕМЕ ИЗУЧЕНИЯ МОТИВОВ КАЛМЫЦКОЙ БОГАТЫРСКОЙ СКАЗКИ И ГЕРОИЧЕСКОГО ЭПОСА «ДЖАНГАР»

Статья посвящена рассмотрению некоторых мотивов калмыцкой богатырской сказки и калмыцкого героического эпоса «Джангар». Автором рассмотрены такие традиционные мотивы как, мотив бездетных старика и старухи, мотив чудесного рождения, который взаимосвязан с последующим мотивом выма- ливания у святых сына-наследника. Защитник рода-племени богатырской сказки в калмыцком героиче- ском эпосе «Джангар» преображается в наследника эпического властелина. Композиционные приемы и эпизоды, повествующие о рождении героя-наследника, сына Джангара, нареченного Шовшуром, свиде- тельствуют о том, каких вершин достигали в своем творчестве калмыцкие джангарчи. Тема продолжения рода получает качественно новое освещение в разрешении государственных задач, от вопроса престоло- наследия переходит к проблеме возрождения Бумбайской страны. Калмыцкие джангарчи отказались от прямолинейной разработки традиционного мотива бездетности, потому как прямое повторение не соот- ветствовало бы характеру эпического героя. Ряд мотивов калмыцкой богатырской сказки проливает свет на разгадку некоторых неясностей, загадок повествования в тексте эпических песен, потому как истинный глубинный смысл происходящего возможно обнаружить в сказочном сюжете, где биографическая форма повествования обусловила связь всех его звеньев, мотивов, ситуаций. В результате изучения мотивов автор приходит к выводу, что традиционный сказочный мотив бездет- ности с последующим мотивом вымаливания сына-наследника, а также мифологический мотив рождения наследника у престарелой героини в калмыцком эпосе «Джангар» трансформируется и сменяется на образ героя-спасителя Бумбайской страны.

БОГАТЫРСКИЕ СКАЗАНИЯ О ДЖАНГАРЕ И ГЕСЕРЕ В КАЛМЫЦКОЙ СКАЗОЧНО-ЭПИЧЕСКОЙ ТРАДИЦИИ: К ПРОБЛЕМЕ ПЕРЕХОДНОСТИ ФОЛЬКЛОРНОГО ТЕКСТА

The article considers the essential aspects of plots inherent to legends that have the status of ‘transitional texts’ and are designated as patterns of Kalmyk heroic tales genetically related to the epics of Jangar and Gesar. The paper concludes that the living folklore tradition gave birth to transitional texts - heroic tale texts and epic legends that genetically developed from the epic tradition towards heroic tales. The genre of ‘latest heroic tales’ include compositions resulting from transformed epic tales that had lost their poetics and epic style of narration, including changes in contents, plots and motifs. The genre boundaries of such texts are conventional, since fairy tales may appear as a secondary - after the epic - form featured by fairy tale reinterpretation.

К ИЗУЧЕНИЮ ОБРАЗА ГЕРОЯ КАЛМЫЦКОЙ БОГАТЫРСКОЙ СКАЗКИ

The article discusses some of the problems of studying the image of the hero of the Kalmyk heroic tales. The plot of heroic tales there are a number of motives the miraculous birth of the hero. Codes golden hero is the guardian of the hearth, protector kind of tribe, multiplies his inheritance by dowry, destruction of enemies manguso, the contenders for the hand betrothed the hero. Naming the name of the hero is a significant event in the epic biography, since it determines his future heroic journey. Keywords: fairy-tale tradition of the Kalmyks, a heroic tale, the hero codes golden, the umbilical cord, a Golden chest, silver back, naming the name, the Keeper of the hearth.

T. E. Lawrence: memórias da Grande Guerra de um herói ambivalente

Este artigo aborda tanto o homem T.E. Lawrence como suas memórias de guerra, Os sete pilares da sabedoria (1935). Lawrence era um homem ambivalente em seu trabalho, suas habilidades militares e diplomáticas, em seu papel na independência árabe e em sua sexualidade. Sua clássica obra de memórias sobre a campanha britânica contra a Turquia na Arábia é, dentre tantas outras coisas, um manual de guerrilha que visa apresentar-se como um registro fatual de uma campanha militar e também como uma narrativa heroica de discernimento, coragem e determinação.

Ecología y traducción: reconfiguración lingüística del protagonista narrativo en la obra de H. G. Wells The Country of the Blind

El presente estudio se encuadra dentro de un marco teórico general en el que convergen dos nociones de ecología distintas, que se vienen aplicando en los últimos años al estudio y la práctica de la traducción. Por una parte, el análisis responde a los fundamentos de la ecotraducción (Badenes y Coisson 2010; 2015), según los cuales la representación lingüística de la naturaleza se convierte en centro de atención de críticos y traductores. Por otra, el estudio ratifica al menos parcialmente los postulados de la eco-translatología (Hu Gengshen 2003; Xiaohua 2015), una perspectiva teórica de índole metodológica, que propone centrar la investigación en las decisiones subjetivas que toma el traductor para adaptarse a su correspondiente entorno y en la particular selección de estrategias y expresiones lingüísticas que realiza a la hora de (re)producir un texto, normalmente literario. Bajo este prisma, el estudio analiza la traducción española que realizó Alfonso Hernández Catá de la obra de H. G. Wells The Country of the Blind en 1919. Más concretamente, el trabajo se centra en la adaptación que hace el traductor de los principales escenarios naturales que vertebran el relato del autor inglés, en tanto que verdaderos protagonistas simbólicos del mismo. Con ello se intentará demostrar que Hernández Catá actúa no sólo como traductor sino como segundo autor, trasladando sutilmente el protagonismo de la naturaleza a las personas y optando así por un mayor control humano del paisaje y por la proyección del relato como épica individual. Esta decisión del traductor exige una adaptación lingüística en último término. A este propósito, en el trabajo se llevará a cabo un detallado análisis comparativo de las dos versiones de la historia; se determinarán las estrategias textuales de autor y traductor y se determinarán las sub-estrategias verbales empleadas por cada uno para lograr sus objetivos. Particular atención recibirán los mecanismos de cohesión léxica y gramatical, como son la referencia anafórica, la repetición léxica y las estructuras combinatorias utilizadas para la construcción de los dos mundos wellsianos, así como las distintas tácticas lingüísticas utilizadas por el traductor para incrementar los índices de subjetividad en la narración española.

Is it The Soul of a New/Lost Machine?

This paper is a throwback to The Soul of a New Machine by Tracy Kidder (Kidder, 1981b). Bruno Latour (1987), upon examining Tracy Kidder's story, observes that the heroic tale of engineers who worked on Eagle, a 32-bit minicomputer, was actually inspired by a machine! Over the years, however, this Latourian viewpoint seems to have been ignored. This paper thus examines how Kidder's story was received over the past three decades by the academic and non-academic communities. It exposes how various reviews of the story reinforce one's assumptions about how one approaches narratives about technology. A total of 228 reviews/analyses/commentaries about the story were analysed in a qualitative undertaking that also led the enquiry into a detailed analyses of the story's historico-cultural agency. The findings indicate that non-academic reviews focused largely on heroism, whereas in the academy, the story was approached in light of the prevailing academic discourses in management theory per any given decade of the book's journey; the story then became The Soul of a Lost Machine!