Main Hero Research Articles

Усть-цилемские сказки об Илье Муромце в исполнении М. А. Семеновой на фоне местной традиции

The article examines four recordings of a tale about Ilia Muromets that was narrated by Marfa Alekseevna Semenova (1917–1997) in the Pechora River basin of the Ust-Tsilma District of the Komi Republic. The recordings were made in the years 1980–1990. Three recordings are kept in the Folklore Archive of the Pitirim Sorokin Syktyvkar State University, and one is preserved in the Archive of the Department of Folklore of Moscow State University. The later was published in the first volume of the Svod russkogo folklora as a version of a bylina about the main hero of the Russian epic. If considered as a retelling of the bylina, Semenova’s tale noticeably differs from other epic versions. The text narrated by Semenova is much larger and combines stories about the healing of Ilia Muromets, his victory over Solovei-Razboinik and the deliverance of Kiev from the pagans. This study compares the four recordings of Semenova’s narration with each other and with other Ust-Tsilma variants of the byliny and tales about this hero. The article comments on the most interesting peculiarities of the construction of the plot and the implementation of motives and images in Semenova’s tale. Special attention is paid to the rare motive for the hero to receive a name — Ilia Muromets zamuromil (i. e., dammed up) the river — and to the atypical reason for his imprisonment in the cellar. The study also notes such features as overlapping and varying fragments that are based on traditional formulas and others that are expressed in prose, relate to the familiar environment of the narrator, and are conveyed in ordinary language. The article includes a description of the performer’s repertoire and a discussion of the possible sources of her folklore knowledge. The study led to the conclusion that Semenova learned the tales by ear and that she was well aware of the distinction between a folk tale and a bylina.

ԿԱՐԼ ԳՈՒԹՑԿՈՎԻ «ՈԳՈՒ ԱՍՊԵՏՆԵՐԸ» ՎԵՊԸ 19-ՐԴ ԴԱՐԻ ԳԵՐՄԱՆԱԿԱՆ ԳՐԱԿԱՆՈՒԹՅԱՆ ՀԱՄԱՏԵՔՍՏՈՒՄ / KARL GUTZKOW’S NOVEL ‘’DIE RITTER VOM GEISTE’’ IN THE CONTEXT OF THE 19TH CENTURY GERMAN LITERATURE

The article is devoted to the analysis of Karl Gutykow’s novel “Die Ritter vom Geiste”. The focus of the article is to highlight the characteristics of Gutzkow’s narrative technique, namely the technique of juxtaposition and the triggering of the main hero - supporting characters hierarchy. We have highlighted through analysis that this innovative narrative technique has become a reference point for later period novels.

The Influence of “The Song of Roland” on the Legendary Albanian “Songs of the Frontier Warriors”

The epic poem The Song of Roland has had an immense influence on European literature over the centuries, including on the ancient legendary Albanian songs, The Songs of the Frontier Warriors. The relation between these two epics has only recently been studied, and hence, it represents an insufficiently explored field. Therefore, the purpose of this study was to enhance the research with new findings. Using a comparative method, in this study, we depicted the impact of The Song of Roland on The Songs of the Frontier Warriors using different layers. These included the abilities of the main hero, the fighting, the cult of the horse, the cult of the weapon, the threat that comes from the sea, the Moor who is the same as the Saracens of The Song of Roland, the figure of the sun, the dream, the lament, and the introduction of The Songs of the Frontier Warriors. By analyzing the influence of The Song of Roland on The Songs of the Frontier Warriors, the understanding of inter-European interactions that took place in the past, and subsequently the reciprocal relations between cultures, is improved. Keywords: The Song of Roland, The Songs of the Frontier Warriors, hero, horse, sword, sun.

Художественная словесность в русской провинциальной журналистике начала XX века

This article examines the range of real forms and genres of Russian journalism in the early 20th century, in one way or another related to literature, using newspapers from Nizhny Novgorod, Vladimir and Yaroslavl provinces as a case study; Nizhny Novgorod Leaf of 1912–1913 was chosen as the main study material. The study showed the importance of the literary component of the repertoire of a provincial newspaper, the variety of forms of presence of literature, both modern and classical, on the newspaper page. Literature itself is represented in the repertoire by poems, prose miniatures, and stories, often printed with a continuation. Humorous and satirical texts, literary parodies occupy an important place in the newspaper. The main object of critical reflection and parody in 1913 became I. Severyanin and other ego-futurists. Besides, the Leaflet regularly publishes critical and biographical articles, reviews, obituaries, retellings of book market novelties, publications of previously unknown works and memoirs, memoirs, reports on events of literary life. The main heroes of the newspaper of 1912–1913 are Turgenev, Nadson, L. Tolstoy, Gorky (as a famous countryman), Balmont. The main informational occasion for the appearance of literary materials in the newspaper are anniversaries or the publication of interesting books or publications. A significant part of literary publications are reprints from publications in the capital. The newspaper also pays a certain amount of attention to foreign literature, first of all, modern literature; O. Wilde, A. Strindberg, H. Hauptmann, and A. Frans. Particular attention is paid to the prose miniature (poem in prose), a specific newspaper genre characteristic of early twentieth-century periodicals. The large number of articles on literary themes testifies to the general literary centrism of early twentieth-century Russian culture.

이청준의 ｢가수(假睡)｣에 나타난 타자 재현 양상 연구

The location of Lee Cheong-joon's “Gasoo” is a time when the historical events of the April 19 democratic revolution and the military coup of May 16 led to hope and frustration with a time difference of less than a year. In this period, individuals are established as others, not as subjects. Lee Cheong-joon reveals the violent nature that occurs in this subject-other relationship by reproducing the other. The reproduction of the other person as an 'anonymous being' in 'Gasoo' is presented through the testimony of the related person. The location where the two main heroes are reproduced as anonymous beings is in the imaginary identification of the witnesses. Lee Cheong-joon reveals the violent situation in which anonymous beings are prohibited from being alone as a whole, with the gloomy atmosphere that dominates the text and the disconnection of communication. And again, as an alternative for the subject to stand alone, it is found in communication in a conversational relationship. This writer's alternative is also revealed in the narrative strategy of “Gasoo”. It avoids violent foundations against others by showing a three-dimensional view of others with a complex and multi-layered narrative situation in the frame format.

СЮЖЕТНЫЙ МОТИВ «РАСТЯЖЕНИЕ ВРЕМЕНИ» (по роману Томаса Манна «Волшебная гора»)

The paper deals with the subject-plot motif “time extension” in the novel “The magic mountain” (“Der Zauberberg”) by Thomas Mann. The following constitutive features of this motif have been singled out: 1) the ability of the main character to concentrate on his inner world by means of a close introspection; 2) the usage of hermetic encapsulation device which consists in the limitation of the time and space conditions of the main hero’s life; 3) rethinking of values and life orientations forming new basic world-view concepts, such as life, death, disease, love. The application of the leitmotiv treated as recognizable main hero description and reiteration of other characters’ actions makes it possible to create the tonality of cantilena in the novel.

The Socialist Boy Detectives and the Cold Wars of Childhood

"This paper discusses the various manifestations of children as protagonists in Romanian socialist cinema, and particularly those present in the juvenile detective movies of that time. Several productions of the socialism cinema industry had children as their main heroes and the movies discussed here were deploying tropes and narrative strategies specific to the global genre of boy detectives. The analysis uses examples that range from written texts, books or cartoons, to films and television series, as these cultural products were exploring not only childhood, but also a particular behaviour of young children and teenagers. They are considered to be relevant for understanding the transformations in Romanian society, as the socialist regime was creating an educational environment for children according to the dominant ideology, the narratives were exploring the resources of a wider genre."

Marvel’s Captain America Civil War poster: An analysis based on the Grammar of Visual Design

Movie posters, a multimodal genre used to attract viewers, are a complex form of communication that contains verbal and visual semiotic resources. The entertainment company Marvel has created a cinematic universe where movie posters play an essential role in marketing. Despite Marvel’s global influence in sociocultural practices, few studies investigate its movie posters. Hence, this study analyzes the visual structures used in the Captain America: Civil War theatrical movie poster, drawing on the Grammar of Visual Design, specifically the representational, interactive, and compositional metafunctions. Regarding the representational metafunction, results show a bidirectional transaction, highlighting the faceoff between the two teams of heroes. Their symmetry also hints at classificational processes. Concerning interactional meanings, the heroes gaze at each other, inviting viewers to observe the image from a social distance while keeping some detachment. Moreover, the camera angle creates an equal power relation between the main heroes and viewers. Finally, compositional meanings strengthen the separation between the two teams through different elements, but they simultaneously indicate the teams will reunite. Thus, these three kinds of visual meanings together provide an adequate summary of the movie plot and aptly contribute to the construal of a future conflict between the two teams.

Միֆը և իրականությունը Ավետիք Իսահակյանի «ռոտմիստր Վ. Պավլովիչի երազը» պատմվածքում

In the original and colorful gallery of heroes, created by the great Armenian poet and prose writer Avetik Isahakyan, a Russian emigrant officer, the main hero of the story “The Dream of Captain V. Pavlovich”, occupies s special place. The former captain of the tsarist, and then the Kolchak army, Vladimir Pavlovich visits the Paris restaurant of his old acquaintance, the former Moscow restaurateur Kuzma Matfeich, to pour out his longing. The action develops through dialogue, and Isahakyan skillfully reveals step by step the folds of the captain’s soul, illuminates the darkest corners of this “mysterious Russian soul”, thereby revealing the tragedy of Russian emigrants. In Vladimir Pavlovich’s long monologues intertwine the past, present and future, myth and reality, and this two play a significant role in all three periods of time, transform into each other or are compared to each other, thereby helping the author to complete what he said. With its cruel truthfulness, the depth of penetration into the soul of a Russian person, a Russian emigrant and artistic qualities, Isahakyan’s story “The Dream of Captain V. Pavlovich” is one of the best examples of Armenian prose and at the same time one of the best works written on this topic in general. It is high time to translate it into Russian and other languages and present it to a foreign reader so that it takes its rightful plase among the well-known works on the theme of Russian emigrants.

LANDSCAPE AND OBJECT DETAILS IN VASYL STEFANYK’S NOVELLAS AND THEIR ENGLISH TRANSLATION

The aim of the article is an attempt of the literary analysis of personified landscape and object details in Vasyl Stefanyk’s novella “The Blue Book”, as well as of the translatological analysis of D. Husar-Struk’s rendering relevant text fragments into the English language. The tasks of the article: elaboration of reference, encyclopedic and scientific literature on the subject of the essence of such literary notions as the fictional detail, novella, landscape, object, falcon theory, personification; generalization of the Stefanyk literary studies as to the peculiarity of landscapes and objects of the short prose by the author of novellas; examination of translatological works concerning translation issues of V. Stefanyk’s novella texts into Germanic languages; singling out personified fictional details in the novella “The Blue Book” and establishment of their role; revelation of cases of D. Husar-Struk’s implementing translatological transformations during the translation of selected personified textual pieces; systematization and classification of these changes; definition of losses and gains in the English translated creation.
 The article employs complex research methods, namely general scientific research methods, such as analysis, synthesis and generalization, as well as a hermeneutic-interpretational (in the realm of interpreting fictional texts of the original and translation), linguistic, translatological, quantitative analysis.
 The practical significance. The materials and conclusions of the article may be used for writing students’ qualifying works, scientific works, developing and delivering lecture courses in the branch of literary and translation studies, in further scientific research of Vasyl Stefanyk’s creative work.
 The scientific novelty of the article is that for the first time in Ukrainian philology the personified landscape and object-detail things in V. Stefanyk’s novellas as well as their English translation became the subject of the complex analysis.
 As a result of the research the conclusions are drawn as to V. Stefanyk’s creative uniqueness to find its way in the landscape and object peculiarity of his novellas as well. For the author from Pokuttia ‒ a connoisseur of the human soul, the fictional detail performed a secondary, though integral and compensating function in his creative short prose works. The fictional language of the novellas in general, and particularly of the work “The Blue Book” (1897), witnesses that the personalization belongs to the writer’s favourite stylistic means of expression. In the named novella the personified plant world and objects, created by the human being, arise in Antin’s, i.e. the main hero’s one-side dialogue. Five fragments with personified fictional details in the novella “The Blue Book” are extracted. They perform such functions as filling with contents, psychologization of the situation and the character’s figure, and making them lyrical, as well as creating the plot, etc. In the translated creation “The Blue Book”, D. Husar-Struk preserved the novella’s ideas and matter, as well as the landscape-object space of the depicted events, conveyed the writer’s unique creative manner. The transition from the original to the translation was allowed due to the use of 38 transformations, as well as their 6 combinations. The mitigation of the aesthetic charge of the translated text took place in the process of recreating stylistic figures of inversion (4) and ellipsis (4), ethnically marked units (3), dialecticisms and the local tongue of Pokuttia (14), old-fashioned (2) and diminutive (1) words of the original.

THE SOUND PARADIGM OF VASYL STEFANYK’S NOVELLA «A STONE CROSS»

The aim. The article suggests a new view on the organization and structure of Vasyl Stefanyk’s novella “A Stone Cross” that determines the elucidation of an intermedial issue in the analysis of the writer’s famous work: the unity of a word and sound palette in the fictional text of the novella author’s prose. Therefore, the aim of the article is to study through the prism of one novella a general tendency of Vasyl Stefanyk’s creative work: the synthesis of literature and art, the study of methodological approaches to interpreting the phenomena of intermediacy in the novellas of the classic of our national literature. 
 The research methods. For the analysis the synthesis of principles and methods of scientific researchis implemented, first of all, of intertextual, comparative-typological, intermedial, poetological and biographical ones. 
 The research results. The interpretation of Vasyl Stefanyk’s novella “A Stone Cross” through the prism of verbal and music-sound aspects promotes understanding of the writer’s rich in senses well-known work. That is why the selected poetic analysis of each part of “A Stone Cross” is the most acceptable for researching the textual longevity of sounds and music in the novella’s general structure. In the research process of the sound paradigm of Vasyl Stefanyk’s work, its groundbreaking essence, the peculiarity of its style, modern poetics are proved that undoubtedly affected the precision and powerful energy of its word form. 
 The scientific novelty. In the research there is achieved a new reading of the text of Vasyl Stefanyk’s novella “A Stone Cross”, for the first time there is performed the analysis of its sound contour by means of which the subtexts and hidden senses of the work are decoded. Such a cutting-edge approach proposes a fresh view on the Ukrainian author’s modernistic searches: the sound, music, song, dance identify the main hero Ivan Didukh, generally psychologise the text of the work. 
 The practical significance. The obtained research results may be used in further research of Vasyl Stefanyk’s creative work from positions of contemporary literary studies, particularly the proposed interpretational approach is one of the segments of a poly-aspectual interpretation of the deep in its contents work that has already become classical both in the sphere education and in scientific studies of today’s researchers of Vasyl Stefanyk’s creative work.

THE THEME OF GOSPEL LOVE IN P. I. MELNIKOV-PECHERSKY’S “V LESAKH” (“IN THE FORESTS”) AND “NA GORAKH” (“ON THE HILLS”) DILOGY

The topic of gospel love is considered the main leitmotif that defines the artistic concept of the novels “V lesakh” (“In the Forests”) (1871–1874) and “Na gorakh” (“On the Hills”) (1875–1881), which comprise a dilogy. It was the result of the reflections of P. I. Melnikov-Pechersky not only about the Old Believers, but also his religious and philosophical contemplations about a person, his spiritual and moral components, national and cultural, spiritual values, the search for true faith and the highest sense of human existence. The religious and philosophical problems of dilogy, its connection with national life, spiritual and moral ideals, traditions of ancient Russian culture, the reflection of Orthodox values in the artistic concept of dilogy allow us to talk about cultural traditionalism and include Melnikov-Pechersky’s creative work in the general literary process of the 19th century. From this point of view, the article considers the motifs of spiritual self-sacrifice, self-denial, serving your neighbor as the highest degree of manifestation of the gospel love. This theme permeates the artistic space of the dilogy and is expressed at different levels in the text structure — in an image-motivated system, plot organization, in quotes and reminiscences. The words of one of the main heroes, the Old Believer merchant Patap Maksimych Chapurin, about serving and self-sacrifice for the sake of his neighbor, representing an inaccurate quote from the Gospel (John 15:13), are the key to uncovering the theme of gospel love. The intentionally positive images of the heroes of dilogy (both Old Believers and representatives of the Orthodox Church) are focused on Christian values, have an Orthodox vision, the essential principle of which is the principle of mutual love in Christ. The example of the heroes of Melnikov-Pechersky shows that love for one’s neighbor is understood as active love, the result of earthly “doing,” be it heroic self-sacrifice or humble asceticism. Love in Christ elevates and transforms the personalities of heroes, leading to unity, sobornost’, a sense of responsibility to each other.

ANALYSİS OF THE STORY OF MR. HALİL AND MRS. PERİŞAN

The stories have been the subject of many researches in world literature and Kurdish literature in general. By definition, a story is a short, prose narrative that narrates a real or near-real event in a literary style. The story differs from the novel with its brevity and simple plot and few protagonists. In the story, the boundaries of the scene are generally explored, the narrator examines the subject in depth and the narration is clear.The story of Mr. Halil and Mrs. Perishan also took a literary form and became a product of Kurdish Folk Literature and folklore. Story; It passes in the Serhad region, in the region between Doğubayazid district and Subhangöl. Its main heroes are Mr. Halil, the nephew of Behlül Pasha, and Mrs. Perishan, the daughter of Omer Agha, the leader of the National Tribe. In the story, there is love on the one hand, and betrayal, absence and misery on the other. In this study, the variants of the story will be examined in terms of the narrator and its content, language, heroes, the place where the event took place and the way it happened.

МАГБЕТ – ОД ИДЕАЛНОГ ДО ТРАГИЧНОГ ЈУНАКА

The subject of this paper is Macbeth – the main hero and the bearer of Shakespeare’s tragedy of the same name. Firstly, we will approach the tragedy of Macbeth and point out the character traits of the main hero by examining in which way Macbeth can be determined as an ideal and in which way as a tragic hero. With an analytical approach to the tragedy, we will focus on the three key factors that are laid as the groundwork of the investigation: witches, Macbeth’s ambition and the influence Lady Macbeth has on Macbeth. Examining the three factors, we will point out Macbeth’s penetration into the criminal world that begins with the witches’ prophecies and completely distorts the moral norms he followed until then. Macbeth’s ambition, placed at the centre of his malice, is considerably strengthened by the prophecy of the third witch and plays the greatest part in Macbeth’s tragic downfall. Lady Macbeth is an additional element to the previously mentioned factors. She does not allow the criminal thread already ingrained in Macbeth to be cut and her role is to incite him to criminogenic activity. Mutually intertwined, these factors affect the radical metamorphosis of Macbeth’s personality, undermine his integrity, his noble inner being that turns evil and disastrously impact his mental state. Therefore, the aim is to point out the genesis Macbeth’s character underwent – from ideal to tragic and how this abrupt transition resulted in the tragicality of Macbeth’s fate, that is, how Macbeth’s fate is causally related to his committed misdeeds.

ПОКОЛЕНИЕ 1880-Х ГГ. В ПРОЗЕ А.П. ЧЕХОВА: МОТИВНАЯ РЕПРЕЗЕНТАЦИЯ И СЮЖЕТНАЯ ДИНАМИКА

Statement of the problem. The article deals with motifs and anthropology problems of the 1880s generation based on A.P. Chekhov’s prose (“Excellent People”, “On the Road”, “Verochka”, “Lights”). The purpose of the article is to reveal the main Chekhov’s motifs to describe the generation, and then to investigate Chekhov’s plot dynamics from 1886 to 1888. Research results. The characters of “Excellent People” are determined by false activity, boredom, doubt, leaving home and changeable/unchangeable motifs. The inner event is outlook searches for a female character, forming Chekhov’s “opening” short story genre. The motif markers of the 1880s generation in “On the Road” are enthusiasm, aimlessness, recurrence, and empathy. The main hero is looking for his credo during all his life, so he may be called the “searching” hero. The hero of “Verochka” is a kind of a “weak man” type. The author’s interpretation of the type is represented by misunderstanding, loneliness, eligible bachelor runaway and old aged soul. Finally, the male character turns into an “ordinary man” literary type. The plot moving in “Lights” is provided by pessimism, skepticism, disillusion, guilt, real life and the common idea motifs. The last motifs are connected with the main hero rejecting philosophic reflection and his acceptance of life in its variety. The change in the combinations of motifs in Chekhov’s stories about the “eighties” during the critical period of the writer’s work allows us to trace the development of the author’s concept of the generation

Verbal and Nonverbal Discourse of Male Characters in Animated Movies

An observation on gender discourse (verbal and nonverbal communication) is the main concern of various scientific studies. Verbal communication serves to express one’s own views, information and ideas in the form of sound and words. The spoken language involves face-to-face communication, while nonverbal communication (also known as silent language) is the transmission of messages through eye contact, facial expressions, gestures and spatial relationship between the sender and the receiver to convey a message. Researchers have substantiated in earlier studies that verbal and nonverbal communication patterns of men and women are quite different (Eagly & Johnson, 1990; Kring & Gordon, 1998). The goal of the manuscript is to observe and analyse discourse (verbal and nonverbal) of male mice characters in two animated movies (American – “The Great Mouse Detective” and Georgian – “Tsuna and Tsrutsuna”). Observation and qualitative research methods, as well as typological analysis are used during the study. Consequently, two animated movies (“The Great Mouse Detective” (American) and “Tsuna and Trutsuna” (Georgian) have been selected for farther analysis where the main heroes represent mice and rats.The study based on the observational research has revealed the fact that animated movie characters act in similar way male and female gender perform in various situations. Observation on movie characters implies the deep social and linguistic analysis of verbal and non-verbal discourse which is expressed in their actions and interrelations towards each other.

Donald Duck and Edward Elgar: English March in Disney Animation

Relevance of the study. The interdisciplinary approach is one of the advanced methods of studying artistic phenomena in the modern science of humanities. It is especially relevant for the study of the compositions of E. Elgar, as his orchestral music has taken the place of a kind of migratory content in modern culture, which is increasingly presented not in academic concerts, but in interspecific formats of mass cultural affiliation: ceremonial events, cinematic soundtracks, different shows, etc. Scientific consideration of the process of this functional transformation of E. Elgar’s works and the nature of the interaction of his music with the visual range is a perspective and creative vector of musicology.
 The scientific novelty of the study. For the first time the principles of the interrelation of “Pomp and Circumstance marches” with the eponymous episode “Fantasies 2000” are described at the historical-chronological, compositional, imaginative, dramaturgical as well as intra-thematic levels. A new perspective on the artistic and genre content of E. Elgar’s marches (which are the original cultural component of the modern multimedia space) is proposed and argued.
 The main objective(s) of the study is to reveal the nature of the interaction of music and animation on the example of the episode about Noah’s Ark from “Fantasy 2000” with Donald Duck in the lead role and the soundtrack based on “Pomp and Circumstance marches” by Edward Elgar.
 The methodology is based on the principles of interdisciplinary research and concentrates on the interaction of two types of art — animation and music. The biographical-historical method, genre, and thematic methods of music analysis are used. The approach to animation is a study of the artistic features of the character, analysis of the technical features of his drawing, and characterization of the principles of visual composition and dramaturgy.
 Results of the study. Characteristics of Donald Duck as the main hero of the episode about Noah’s Ark from the film “Fantasy 2000” is described. In parallel, the artistic portrait of Edward Elgar as the creator of “Pomp and Circumstance marches” (which became the basis for the soundtrack of this episode) was studied. The general structure and artistic material of these works of art are analyzed.
 The nature of the interaction between the visual component of the animation and the thematic complex of the Elgar’s cycle of marches is studied. The following principles of interaction of music and animation are singled out and argued: affinity of forms; the relationship between mosaicism and integrity; monothematism as a structural and compositional basis of the material organization; figurative and emotional flexibility as a dramaturgical basis for development; quoting a concert ritual within the cinematic genre; features of humor; imaginational and dramaturgical parallelism.
 The significance of the research lies in the expansion of the array of scientific intermedia works devoted to the connections between the music and animation arts. The article enriches the panorama of analytical research on the work of E. Elgar as part of English orchestral modernism.

FATHER, SON AND THE HOLY WATER: THE SACREDNESS OF THE HERO'S INĠTĠATĠON ĠN KÖROĞLU'S NARRATĠONS ON IRANĠAN TURKS

The main hero of the Köroğlu Epic, which is one of the most common epics told in the geography from the Balkans to East Turkistan and accepted as the common value of the Turkish World, is mentioned with the words Köroğlu or Goroğlu, which means "son of a blind person" or "born in a grave". The wise personality of Köroğlu's father, Mehter Alı, plays a role in the initiation of the hero in the "Mehter Alı Epic", in which the emergence of this hero, whose name is Köroğlu in Iranian Turkish narratives. In this article, which examines the signs that are considered sacred in this initiation and how the wisdom of Mehter Alı is constructed in the epic narrative, the signs of the extraordinary gained in the initiation of both the hero and his horse are exemplified in several branches of the Köroğlu Epic compiled in the same country. The initiation of the hero (UrĢan), who will be named Köroğlu in this branch, evolves as Mehter Alı, who is aware of the extraordinary powers that nature has given him, transforms his son UrĢan, who is an ordinary individual, into a hero by using his wisdom. In all stages of the hero's initiation adventure in the narrative, thanks to this wisdom of his father, UrĢan reaches to the sword (mısri sword) produced from the lightning stone, which is considered sacred in Turkish culture, the horses (Kırat and Dorat), which are the complement and most important assistant of the hero, the strategic place where he settled (Çamlıbel), and finally, the holy water (KoĢa Bulak), which he obtained his cry, the hero's most effective weapon and which helps him both in his love and in overcoming his enemy. In this study, we will examine the wisdom of Mehter Alı in the initiation of Köroğlu and the indicators that are effective in turning an individual into a hero.

ОТРАЖЕНИЕ ТЕМЫ ПЕРВОЙ ЛЮБВИ В ТВОРЧЕСТВЕ И.С. ТУРГЕНЕВА И С. БЕККЕТА

Русская литература получила широкое признание в мировом культурном пространстве только в конце XIX в. В этом вопросе примечательна роль И.С. Тургенева, который, в отличие от других русских писателей, был известен в Европе с 50-х гг. XIX в. и рассматривался иностранными авторами как близкий им литературный деятель, который русскую оригинальность изложения сочетал с доступным для понимания иноязычным читателям содержанием. В настоящем исследовании речь пойдет о реминисценциях из Тургенева в творчестве С. Беккета и, в частности, в его рассказе «Первая любовь», который во многом, полагаем, создавался в контексте одноименной тургеневской повести. Тема взаимоотношений Тургенева и ирландского писателя ранее не поднималась в исследовательской литературе, однако литературные связи двух авторов, которые удается проследить по письмам и библиотеке Беккета, позволяют нам говорить о знакомстве последнего с текстами русского писателя. Russian literature acquires wide-spread acknowledgement in the world cultural environment only in the late years of the 19th century. After that the creative works of such Russian writers as F.M. Dostoevsky, L.N. Tolstoy or A.P. Chekhov become the source of allusions and reminiscentia for the foreign authors. E.M. de Vogue even claimed that in terms of the crisis of the national literature writers must address the Russian texts which offer new and original strategies for literature development. First and foremost, he spoke about I.S. Turgenev’s figure. He was one of the few Russian writers known in Europe from the middle of the 19th century and sometimes appeared as an author uniting both the Russian original way of thinking and depicting world with understandable for foreign public plots and ideas. Turgenev’s creative talent was known outside Russia and some foreign writers even considered themselves as his apprentices (like H. James). Our current research deals with the Turgenev’s figure in S. Beckett’s creative works who was quite familiar with Russian literature in general. By studying Beckett’s letters and library it was discovered that he indeed had different Turgenev’s works in his collection. There stand out two works — “The First Love” and “A Month in the Country” — where the first one was as we believe the plot forcing Beckett to address this topic in his eponymously-named short story. The both stories have a lot in common in the plot and character sections. First of all, the father figure appears in both books in relation to the first love thus creating love triangle: main character — father — lover. Moreover, both fathers appear distant to characters and at the same time close to their hearts. Female lover is also expressing some similarities namely in their scandalous behavior for their time. As for the main heroes, they both have romantic understanding of life which is largely travestied in Beckett’s work. But the most significant part is connected to the definition of love in both books. Turgenev underlines the poisonous and destructive nature of love that just has tragic meaning and destroys people without hesitation or regret. Beckett, in his turn, focuses on abstract, senseless and plainly uncontrollable side of love which makes the whole process chaotic. His characters also pass the love trial which Русская и зарубежная литературы: сопоставительные планы 57 is common for most of Turgenev’s works demonstrating their vanity and loneliness in the universe

Ο Καραγκιόζης πάει αντάρτης: ένα ανέκδοτο έργο της Έλλης Αλεξίου από το αρχείο του ΚΚΕ

This short Karagkiozis play, by the writer and Resistance fighter Elli Alexiou, was discovered in the archives of the Greek Communist Party. Karagkiozis, the Greek popular shadow theatre, was used during the Resistance (1941–1944) to promote the struggle against the German occupiers. Here, the main hero, who, for some researchers, symbolizes the low-class Greek citizen, abandons his eternal hunger to join the Resistance movement. But he never abandons his playfulness and jokes, even during the darkest times of the Greek history.