Main Hero Research Articles

Of heroes, maidens and squirrels: Reimagining traditional Finnish folk poetry in metal lyrics

The Kalevala (1849), the Finnish folk epic, has inspired all types of artists throughout the years. It could be argued that it was only a matter of time before Finnish metal musicians started adapting material from the epic in their music and lyrics. This article presents two case studies of two lyrics. The first is ‘Lemminkäisen laulu’ (‘Lemminkäinen’s Song’) by Kotiteollisuus. This song is about one of the epic’s main heroes, Lemminkäinen, and his unfortunate marriage to Kyllikki. It draws on poems 11–13 from the Kalevala and on the book Seitsemän veljestä (‘The Seven Brothers’) (1870) by novelist Aleksis Kivi. The second song discussed is ‘Rautaa rinnoista’ (‘Iron from the Breasts’) by Mokoma. The lyrics for this song are inspired by the painting Raudan synty (‘The Origins of Iron’) (1917) by Joseph Alanen. This painting is based on the birth of iron poem from the Kalevala. The interpretation of the lyrics of both songs will show that artists in the same genre have a larger general awareness of other cultural products, including those inspired by the Kalevala and that they use the epic for different purposes. The two case studies will show that adaptation of Finnish folk poetry can be used for various reasons, such as to parodize contemporary society or to voice personal ideas and world-views. Furthermore, the analysis of these lyrics will show that the songs are connected to a sense of Finnishness and the topics and themes of metal music internationally.

The Ideas of Dangerous Education: Modification of the Pedagogical Novel in <em>Oliver Twist</em> by Charles Dickens and “The Gemini” by Taras Shevchenko

The article deals with usage of the pedagogical genre in the novels Oliver Twist by Victorian writer Charles Dickens and the story “The Gemini” by Ukrainian writer Taras Shevchenko. It demonstrates that in the novel Oliver Twist by Dickens and the story “The Gemini” by Shevchenko there are some distinct genre features of the pedagogical novel: in both works, one can observe the development of authors’ experiments—the main heroes are placed in specific pedagogical circumstances. Unlike Shevchenko, Dickens promotes the idea of “noble” heredity, which is important for further formation of personality with high moral and ethical principles of the character that is able to resist the negative impact. Despite the external similarities with biblical motifs and themes, the plot of the novels is based on archaic components: the motif of the amazing rescue of the infant and dual organization of the myth about brothers (twins), where the first represents consistency of Good and the other Evil. In both works, antagonists are infantile individuals who revolt against their loving mothers. The writers construct images of wise mentors without whom ideal characters would not form successfully.

VALUE OF ACTIVE COMPASSION IN THE HEROIC EPIC: RUSSIAN EPIC CONCEPT

The article uses the comparative historical method to analyze epic folklore from around the world with regard to the functioning of the concept of active compassion. Proceeding from extensive factual material, the author demonstrates that different national and civilizational traditions imply various interpretations of this concept. While The Epic of Gilgamesh, Homer’s Iliad, and medieval Western European epic songs don’t treat mercy as an axiologically important principle, the folk epics created by the Orthodox peoples maintain its value in accordance with the Christian ideal of sacrificial love. This interpretation is clearly presented in the Byzantine epic poem Digenes Akritas, in Serbian heroic songs, and, especially, in Russian bylinas, where one of the main heroes, Ilya Muromets, is very often motivated precisely by compassion. The author’s observations suggest that the concept of mercy, organically inherent in Russian folk epics, influenced the subsequent literary tradition as well, being reflected, for instance, in the poetics of the Russian psychological novel.

THE ANALYSIS OF THE NOVEL “THOUSAND YEARS OF LOVE” BY AKIRA MIZUBAYASHI FROM AN INTERCULTURAL PERSPECTIVE

Based on the novel “A Love of Thousand Years” (Un Amour de Mille Ans) by Akira Mizubayashi, the paper attempts to reveal the problems related to intercultural communication. Linguistic, cultural and religious aspects are observed. The bearers of these aspects are Sen-nen, the main hero presenting Japan, as well as the hero who is open to other cultures, Matilda, Sen-nen's wife, who is associated with Europe and their daughter, Emily, who seems to “lack” culture, she presents modern globalist “culture”.

Popular media and its ability to (re)form perceptions about Africa and Blackness: Black Panther

This reflection essay, with the help of studying Black Panther, describes how popular media form or potentially reform our perceptions about Africa and Blackness. The introduction creates a base for understanding the movie’s place in public opinion and how critics have reviewed it; and raises the issues that are to be addressed. Reflecting upon Asante & Pind’s paper, the analysis starts with Africa’s (Wakanda) portrayal and how it reinforces certain stigmas and stereotypical thinking, but at the same time how the afrofuturistic setting offers to change our presumptions and helps to create a possibly better future for Black people by imagining an Africa, unaffected by Western colonialism. The characters are also flashed out, putting more emphasis on the main heroes: T’Challa and Killmonger. I examine their personalities, actions and where they come from, elaborating on the problematic aspects of the message these convey by feeding us the same reoccurring Hollywood storylines behind black character masks. Ultimately, I ask the question: Does Black Panther deserve to be called a milestone for Black people in cinema or is it just another form of white exploitation?

PECULIAR OF HEROES OF KAZAKH HISTORICAL EPIC

The article defines the image of a defender-heroin the historical epics of the Kazakh people.In the historical poems, the character of "defender -hero" is portrayed in different ways. Usually main hero’s prototype is a real person that lived in particular region around that time. We can say that historical epic’s characters are realistic and conditional. It is known that they act within historical events, but at the same time being able to serve in epics legislation. As we can see from the poems, he was a mentor and educator who gathered around him a brave young man. From "defender hero" hehas transformed into a heritage of character that cares his people. Young heroes close to Khan even though how valiant they never refuse take advice given by senior hero and do as they say, we can clearly understand their unity to keep peace by protecting people and their country from menace and danger. Because of such heroes were the protectors of our Kazakh nation we could withstand all kind of misfortunes and dangers and survived. Heroes did not just own the great steppe they also prevented it from all sort of menace. In historical epics, it is evident that the heroes served all their life during unstable and difficult times,when they did not manage to resolve their own personal problems. In addition, the psalms belonging to the historical epic genre of Kazakh folklore, which we are considering, are diverse. In all of them honored portrait of hero that served his country. However, according to the purpose and the main theme of the epos, we have noticed that the "defender-hero’s" personality image is different.

Using website stickiness strategy to stick online readers: Web-based RPG Reading

In this study, we would like the readers to conduct online-reading using the method of role-playing. We chose the Journey to the West, one of China’s four greatest classic literatures, as the material in this experiment. The readers will take on the role of the main hero of the book, Sun-wu-kong, while reading, experiencing, and exploring the story. We wish to discuss topics relevant to website stickiness and characteristics of online game and in turn to understand the acceptance of Web-based RPG Reading style.

The evolution of the images of the main characters in the process of Alexander Ostrovsky’s work on the comedy "The Forest" (based on the draft autograph of the play)

The proposed article assumes a continuation of the conversation about one of the most polemical texts by Alexander Ostrovsky, begun on the pages of this journal by Vladimir Tikhomirov, who in his article “Comedy "The Forest" by Alexander Ostrovsky: holding out for a hero. Experience of a commentˮ drew attention to the problem of evaluating the heroes of the comedy "The Forest" by critics of the 19th century. The genre-compositional features of the play, which included old and new types of heroes in familiar and new conflict collisions, acquired even more explicit outlines when referring to the manuscript sources of the play in the process of preparing the complete collected works of Alexander Ostrovsky. In our opinion, the reaction of the playwright's contemporaries, who did not see anything fundamentally new in the play "The Forest", is due, in particular, to the complex drawing of the images of the main characters, the concept of which took shape gradually. At the same time, the evolution of the characters of the heroes of the comedy had a direct impact on the formation of the author's intention. Also, the attempt to restore the general drawing of the author's work to create the characters of the main heroes of the play, to comprehend the specifics of the contradictions implicitly present in their images, is a logical continuation of the discourse begun earlier.

A Queer Construction of Identity in the Memoir of Stefan Czarniecki by Witold Gombrowicz

ABSTRACT The article presents the analysis and interpretation of Witold Gombrowicz’s short story: Memoirs of Stefan Czarniecki from the volume Pamiętnik z okresu dojrzewania [Memoirs from Time of Immaturity] 1933 (included after the Second World War in the volume Bakakaj [English translation: Bacacay]). The author interprets the story as narrative about life with the stigma that results from the social effects of anti-Semitism. At the same time however, he shows that the conceptualizations of “race” are often very clearly combined with the considerations about masculinity and effeminacy of the main hero. The author shows - referring to the historical works and theoretical and literary criticism (Eve Kosofsky Sedgwick) that “effiminacy” combines narratives about Jewishness and male homosexuality in a complex way, which at the same time constitutes the aporia of Gombrowicz’s text and queer construction of identity of the main hero.

MASCULINE BALLET AS AN EXAMPLE OF A MODERN BALLET ART

Masculine ballet as an example of a modern ballet art In the given article the queStion of masculine ballet art craft through the gender modification in brief text presentation is settled, and therefore analysis of the search of masculine character depiction of art direction is done. The analysis of ballet art works are done where the masculine part is inseparable part of big role of cognominal character. There were provided the inveStigation of the men of art – the actors – and their undefeated way to creating new ballet characters of woman’s prototype. Also the prominent Ukrainian ballet Stage figures are inveStigated who were contributing to the diapason of Ukrainian theater by their masculine part. The formulation of the article objectives: to inveStigate the regularities and Striving of the masculine hero on the European and Ukrainian Stages, to reach the aim of the enrichment by his uniqueness and generativity up to conStant criteria of self-knowledge and self-perfection through the perception of the audience analytics. To present the examples of Ukrainian ballet artiSts, their figurativе aspect and changes laid by them into the hiStorical qualifications of conStruction of the lines of the rising masculine notable personalities. Summaries. Ukrainian and European ballet space combines the gender intereSts of Structure of the interpretation and subStitution in characters of expression of that or another role. For years the Ukrainian dancers have been enriching the Ukrainian Stage, the ones whose unbelievable perception and transmission of artiStic bright energy color were fulfilling and indulging the theater Stage. Also in the rhythm of perception of modern performances there is a quite certain aspect for underStanding that gender safety “belts” concerning “the non-fitting” of the Feminine vs Masculine (and inStead) have no more importance of attention drawing from the side of theater critics. The norms of the confusion of certain paraphernalia in the coStumes, role staging and diversification in representing the individuality as a main hero in certain performance give the audience the opportunity to investigate the feminine and masculine characters in the Pleyada of modern performances and the way for avant-garde decisions.

Тема інклюзії у повісті Алана Маршалла "Я вмію стрибати через калюжі"

The article highlights the peculiarities of revealing the theme of inclusion in the story of the Australian writer. It is emphasized that inclusive literature is becoming a popular trend in the art of speech, aimed at revealing the image of a person with disabilities and acquainting the readership with the peculiarities of socialization and adaptation and the problems of self-realization. And from the middle of the twentieth century there was a tendency to choose the main character, and not a secondary or episodic character, as one that have special needs. It is emphasized that such works often focus on the personality of the protagonist, rather than his disability. It was found that A. Marshall's book is autobiographical and reveals the formation of a disabled child, the process of realizing his otherness and denying any restrictions due to illness. It is determined that the author avoids sentimentality and tragic pathos, does not put the character in the «limit situation», but rather emphasizes that everything is complicated for his main hero by adults who do not understand his inner state and do not seek to break their own stereotypes about people with special needs and their existence. Thus, the writer draws a contrast between the adult and children's perception of the disability. It is emphasized that for this reason all stages of formation of the protagonist of the story «I can jump puddles», starting from the moment of returning from hospital after operation, occur in contrary, and not thanks to support of adults. It is determined that the study of inclusive literature is a promising area of literary researcher, as it provides a comprehensive view of the problems faced by people with special needs, their relatives and friends.

КАРЕЛЬСКАЯ ЭПИЧЕСКАЯ ПОЭМА Ф. Н. ГЛИНКИ КАК ИСТОРИКО-ХРИСТИАНСКАЯ ЛЕГЕНДА

The article discusses the peculiarities of Fyodor Nikolayevich Glinka's poetry, his work, and the distinctive features of his poems. The attention is focused primarily on the poems: «Karelia, or the Imprisonment of Marfa Johannovna Romanova» (1830), «The Maiden of Karelian Forests» (1826). The poem Karelia, or the Imprisonment of Marfa Johannovna Romanova» is about the events during the Time of Troubles. The prince's mother, Marfa Ioannovna Romanovna, is exiled to Karelia as a result of a conspiracy. A traveling monk helps her survive her exile. He introduces her to the mythology and life of Karelia, comforts her and tells her about the divine miracles that occur in the north. Eventually, Marfa Ioannovna finds the strength to survive her exile and returns to her homeland. The poem also attracted the attention of A. Pushkin who wrote a review of the poem in 1830. The characters of the poem The Maiden of Karelian Forests are contemporaries of the author. A young man arrives in Karelia. There he meets a girl and her father who is hiding from the law. The poem ends with the return of the girl and the main hero from Karelia. Fyodor Glinka's artistic images, in particular the image of Karelia, attracted other poets as well, namely Eugeny Barstynsky and Vladimir Benediktov. Eugeny Barstinsky wrote his poem «Eda» in 1826. This poem is about love between a Finnish girl and a visiting hussar. The poet Vladimir Benediktov wrote several poems devoted to Glinka himself and Karelia. They were published in 1856. These poems are: The Cliff, The Lake and To the Playmates. All these poets wrote about Karelia, but only Glinka wrote in his poems about Christianity and history. Whereas Yevgeny Baratynsky and Vladimir Benediktov depict the splendor and beauty of Karelia, Fyodor Glinka's characters are engaged in spiritual quests among the Karelian nature and eventually gain true inner freedom.

ОСОБЕННОСТИ ВИЗУАЛЬНОГО РЯДА МУЗЫКАЛЬНОЙ РЕКЛАМЫ И ЕГО ВОЗДЕЙСТВИЕ НА ПОТРЕБИТЕЛЯ

Before 1950s, advertising had a reputation as a not entirely reputable business. A fragment from A. Hitchcock’ film may serve as an approval of it, where a hero states that in the world of advertising, there is no such thing as a lie, but there is only the expedient exaggeration. With the advent of the TV, the musical functions of transferring and evoking the emotions are generated. Since 1990s, music in advertising refers to music integrated in the media advertisement in order to enhance its success. The novelty of the research concerns the visual and music-visual modalities in the advertisement video contributing to the commercial interest from the consumers, which have been analyzed based on the aesthetic appeal to the screen images. Music is a crucial part of advertising. Thus, the Race of Parts musical content of the advertisement for 2008 featuring the Renault Megane, accompanied by the music from Vivaldi’s the Four Seasons, Summer, Part 3, is closely associated with formation of a product itself. It is expressed by the attractive interactions between the car parts and the rising tessitura, while the color gamut is in contradiction to the general associative perception. The musical score expressing a product olfactory perception is more rhythmic and airy. Thus, the advertisement of the Giorgio Armani Acqua Di Gioia perfume uses the audio-visual modality of the water element including rain, sea waves, and waterfall. Constructing the visual perception is supported by the dominant in music with a tendency to the gradually developing variation set. Unreasonable music used in advertising can result in decreasing the interest to the made brand. This fact has caused a strong activity in finding the new ways to attract the interest of the audience to the commercial product. Animation is one of them (for instance, the animated Coca-Cola Polar Bears Commercial, 2012). The music is written in the classical style by Glenn Rueger. Music supplements expand the imagery of the main heroes, attracting the potential consumers. In the clip of political advertising, the music may play a significant role. The music sounding as a patriotic call can help the audience perception of the essence of the challenge images in the clip and the opportunities to overcome them. The clip from the I am Shapovalov film (1973) with the Let’s Raise the Cavalry Swords song (Composer E. N. Ptichkin and Lyricist E. E. Karelov) performed by V. Mulerman contains a sustaining calmer rhythm. With respect to the same song performed by A. Chuprin, the constants of the march precise in rhythm sound against the reference history of creating and developing the Armed Forces of the Soviet Union and modern Russia. The musical content in advertising is shown to increase the psychological impact on the audience and its emotional arousal, enhancing the attractiveness of a commercial product. Therefore, careful selection of the music material and the method of its use may contribute to creating the rhythmically charged imagery of the clip itself, providing insight into imagery and forming an appropriate language content with the use of cinematographic techniques (editing, color grading, etc.). In addition, the ideological dimension of the musical rhythmic pattern in advertising may contribute to determining the genres of the clip itself.

Reflections on the Relationship between the Life and Passion of Saints Galaktion and Episteme and the Ancient Greek Novel

This article contributes to scholarly discussion on the relationship between the Life and Passion of Saints Galaktionand Episteme (VGE) and the ancient Greek novel, especially with respect to the first part of the VGE, which is dedicated toSaint Galaktion’s parents, (G)leukippe and Kleitophon. To this effect, it discusses a number of common motifs and themes inthe VGE and the ancient novel tradition. A special point of interest is the relationship between the VGE and Achilles Tatios’novel, in particular the homonymity of the novel’s main heroes, Leukippe and Kleitophon, and Saint Galaktion’s parents. Thisarticle offers support to the view that the VGE, despite its debts to Achilles Tatios’ novel, should not be regarded as the latter’s‘continuation’; it also suggests an alternative way of viewing the relationship between the two texts.

Application of status paths in the opera“layli and majnun” by reyngold glier and tolibjon sadikov

In this article, a comprehensive overview of the application of status traditions and ways was reflected in the Opera “Laylyand Majnun”, belonging to the pen of Geyngold Glier and Tolibjon Sadikov. The article can be useful for researchers in the field of Music Arts. The Opera “Layli and Majnun” is based on the work of Alisher Navoi with the same name. The libretto, which is the basis of the novel-made play by Hurshid, brilliantly showed the intelectuality of the main hero. Since opera is one of the most complex genres in music, it has made it much more difficult for young Uzbek composers. Uzbek demanded to be a nationalist while preserving all the rules of this generous genre.

ОБРАЗ СУМРАЧНОГО БОГАТЫРЯ В ПОЭМЕ М. М. ХЕРАСКОВА «ВЛАДИМИР» И СКАЗКЕ А. С. ПУШКИНА «РУСЛАН И ЛЮДМИЛА»

The article uses a comparative text analysis of the poem “Vladimir” and the fairy tale “Ruslan and Lyudmila” to reveal a number of parallels associated with the image of the warrior Rogdai. Previously, researchers have not considered this aspect of the works in detail. The character has a conventionally historical prototype – the epic hero Rogdai is mentioned in the “Core of Russian History” by A. I. Mankiev, and his laconic description in the source sets the type of character in Kheraskov’s and Pushkin’s poems. In both works Rogdai occupies a prominent position at the court of Prince Vladimir of Kiev, and is distinguished by his strength and violent temper. Kheraskov's poem emphasizes the immorality of the character, which is due to the didactic message of “Vladimir” and the need to discredit the warrior who is an opponent of Christianity, while Pushkin omits the ethical points. As the plot develops, the relatively neutral character becomes the antagonist of the main hero – Kheraskov's Vladimir and Pushkin's Ruslan – and at a certain point fights with them, which results in the warrior's dishonorable death. The comparison of “Vladimir” and “Ruslan and Lyudmila” shows that, in addition to the name, Rogdai has similar characteristics in the works of Kheraskov and Pushkin; the image is created according to the model of the epic hero, overshadowed by negative traits. The texts show common motifs - the anger, resentment and vindictiveness of the hero, the corrupting influence of the evil spirit and its helpers, Rogdai's wandering through the desert places, his death at the hands of the enemy. The similarity between Kheraskov's and Pushkin's characters of the same name leads to the conclusion that the image of the gloomy warrior from the poem “Vladimir” was borrowed into Ruslan and Lyudmila.

THE PERSONALITY OF FIELDWORK RESEARCHER IN “BEIRUT STORIES” BY AHATANHEL KRYMSKYI

The article deals with the personality of A. Krymskyi as a fieldwork researcher from the perspective of his fiction book Beirut Stories. The author’s presence in the text is shown not only through the personage of an eccentric muscovite who came to Lebanon to study Arabic, but also through the massive anthropological narrative, which often overshades a plot and personages. The reader can’t get rid the feeling that this narrative is, as a matter of fact, a main hero of the book. It is based on the A. Krymskyi’s experience as a fieldworker who used in his research investigations mainly a method of included observation. The article focuses on the author ‘s usage of onomastic arsenal with the help of which he denotes different identities of Lebanese society through the lenses of anthropology of religion. He works with the official and folk terms: Orthodox, Rums (in the meaning of Orthodox), Greeks (in the same meaning). By the way, the term Greek in the oral speech of Beirut people in the end of 19th century marked also Russians who lived there, and even Orthodox French nuns come from Marseille. Russian expats were also named as Moskobs, Muscovites. Catholics of Beirut were called as Jesuits (in case they are the teachers of the Catholic schools), Franjie, etc. A. Krymskyi as a thoughtful observer noticed that the identity in the Lebanese society of that historical period is situational: depending on context the person could identify him or herself according to the religious, local, social or ethnic identity. The street life in Beirut demonstrates an example of interreligious and interethnic communication and everyday diplomacy, and Ahatanhel Krymskyi methodically incorporated his own observations, communicational experience, oral dialect, folklore to his Beirut Stories.

“ENTERING LIFE” OF POETRY BY E.T.A. HOFFMANN AND GÜNTER GRASS

In this scientific article, it is assumed that the literary works of the Nobel Prize laureate and the German national poet Günter Grass are characterized by romantic features. For this reason, the novel Ein weites Feld (“A Wide Field”) by Grass and the fairy tale Der goldene Topf (“The Golden Pot”) by E.T.A. Hoffmann are examined in terms of their similarities and differences. It is noteworthy that E.T.A. Hoffmann has so far only been associated with Grass in relation to his fairy tale “Klein Zaches, called Zinnober”, and the main hero of the fairy tale served as a literary model for Oskar Matzerath from “The Tin Drum”. Thus, this article makes it possible to throw a new light on Grass’es research. In this paper the following aspects are analyzed: questions of poetics, genesis, main characters, narrative or fictional levels, structural principles, as well as the role of the reader. The results are summarized in the final part of the investigation.

Житийный герой в романном повествовании: «Лавр» Евгения Водолазкина (Часть вторая)

As genres, hagiography and the novel are close in their intention to show the path of a personality and to depict the whole life of a hero. However, the value orientations of a novelistic hero and a hagiographic hero are opposite: from the very beginning, the latter denies what the former is striving for — the success in worldly life. From his very birth, the main hero of E. G. Vodolazkin’s novel Laurus has the inclinations of a hagiographic hero, but at the beginning of his independent life, he behaves not in a hagiographic, but in a novelistic way, which leads him to tragedy: his beloved woman dies without the repentance and ritual that are important in terms of hagiography. The article examines how the hero, trying to save the soul of his beloved woman, turns his life into a constant feat of serving people. On this path he reconsiders the meaning of life’s goals on a general and individual level, the categories of time and how time is filled with events, and the horizontal (“worldly life”) and vertical (“a life leading to Heaven”) paths. The hero goes through four distinct periods in his life and, accordingly, changes his name four times, but a certain monad of his personality remains unchanged. Growing in holiness, the hero saves the life of a young woman — he assists her when she delivers her baby — and that compensates for the loss of his beloved one and their unborn son. Since after the hero's death his unburied body does not decay and eventually disappears, it can be assumed that the hero achieves the goal of his life — the salvation of his beloved woman's soul, as well as his own. The method of analytical reading allows us to trace how in his narration the author overcomes the antinomy of the novelistic and hagiographic principles, and how these principles influence each other and grow into each other.

Negativne predstave vizantijskih princeza u srpskim srednjovjekovnim žitijima

Negativne predstave vizantijskih princeza u srpskim srednjovjekovnim žitijima