Image Of Protagonist Research Articles

COMPARATIVE AN TIVE ANALYSIS OF EPIC HELPERS IN ENGLISH AND SIS OF EPIC HELPERS IN ENGLISH AND UZBEK FOLKLORE

Introduction. Uzbek and English people live in different continents, however the similarity in subjects, classification and representation of heroes can be observed in their folklore. Fairy tales, myths, legends, epics reflect the lifestyle, culture, beliefs and worldview of each nation. They embody national aspects for sure. National identities are reflected in images of protagonists and helpers in any genre of folklore. Research methods. Awareness of other cultures demands investigations in many spheres, including literature and folklore. Comparative-typological and historical-comparative analysis of the image of epic helper are the main methods used in our research. Results and discussions. The image of the patron saint heroes is rooted in pre-Islamic.

Святой Тихон Задонский и Ф. М. Достоевский: проблема обретения веры и тема наставничества в «Житии великого грешника»

The analysis of the unfinished novel “The Life of a Great Sinner” is presented. It is proved that the religious ideas of Tikhon of Zadonsk about freedom, nobility, humility formed the basis of image of protagonist of the work. The author emphasizes that the novelist outlined a complex structure of image of the hero, whose aspirations are multidirectional: on the one hand, to freedom as power over people and worldly greatness, and on the other - to Christian freedom and humility. Attention is paid to the issue of conditions for finding the Orthodox-Christian faith by the young hero. The author shows that in the process of its consideration the novelist included the figure of the mentor in the system of characters of the work, his the prototype being Tikhon of Zadonsk. The problem-thematic core of the idea is revealed: the literary Tikhon calls the character to humility (to conquer himself with God’s help), but the character does not penetrate the essence of the doctrine and follows the path of false humility, distorting what he heard from the mentor and arming himself with the formula “conquer yourself and you conquer the world” in its exclusively mundane understanding. The author comes to the conclusion that Dostoevsky does not remove the prospect of spiritual transformation of the young hero, but, experiencing difficulties in its artistic disclosure, leaves the idea. The author believes that the plot situation “mentor - student” retains its importance in the problem-thematic aspect in the future work of the novelist (“Demons” and “The Brothers Karamazov”).

ОБРАЗЫ ГЛАВНЫХ ГЕРОЕВ ОЛОНХО СЕВЕРО-ВОСТОЧНОЙ ТРАДИЦИИ ЯКУТОВ

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.

A Comparative Study of Two Major English Translations of The Journey to the West: Monkey and The Monkey and the Monk

As two major English translations of a famous sixteenth-century Chinese novelThe Journey to the West, Monkeyby Arthur Waley andThe Monkey and the Monkby Anthony Yu differ in many respects due to the translators’ different concerns and translation strategies. Whereas Waley’s translation omits many episodes and significantly changes textual features of the original novel, Yu’s translation is more literal and faithful to the original. Through a comparison of the different approaches in these two translations, this paper aims to delineate important differences in textual features and images of protagonists and demonstrate how such differences, especially the changing representation of Tripitaka, might affect English-language readers’ understanding of religious references and themes in the story. It also seeks to help us reconsider the relationship between translations and the original text in the age of world literature through a case study of English translations ofThe Journey to the West.

Cuerpos intimidados: secuelas somáticas del terrorismo de Estado en La fiesta del Chivo de Mario Vargas Llosa

This paper argues that Mario Vargas Llosa’s novel The Feast of the Goat (2000) uses the images of the bodies of three of its characters (Urania Cabral, Trujillo and Agustin Cabral) to represent the mechanisms of state terrorism at the time of Trujillo’s dictatorship in the Dominican Republic. It is a traumatizing system, which leaves somatic marks in all the actors involved. We analyze the manners in which the Peruvian author uses the images of protagonists’ organic processes to sketch the psychical, emotional and ideological processes and states, linked to or generated by the policies of intimidation.