Battle Scenes Research Articles

Can We Call the Speech Acts of Heroes who Bounce Back from Defeat Ultimatives?

In animated films and video games, there is always a scene where the heroes bounce back from defeat and charge the villains with a final strike. I argue that this particular scene has a specific speech act – ultimative. To prove this claim, I employed apostrophe as a dramatic device by Wagener (1931), speech act markers by Zeevat (2003), speech act formula by Pawley (2009), and invocation by Frankfurter (2019) on twenty titles of animated films and video games to indicate the presence of ultimatives. The findings indicate that ultimatives have distinctive traits. Speech act markers of sudden changes of speech and narratives, pathic speech act markers, and speech act markers of invocation construct them. The combination of these three elements constructs the speech act of ultimatives. I also found that ultimatives in animated films and video games have different functions due to different characteristics and features of the media. In animated films, ultimatives function as a narrative marker indicating that ultimatives signify the plot progression and rationalization. In video games, ultimatives function not only as a narrative marker but also as mechanical marker. Functioning as a mechanical marker indicates that ultimatives require the players to perform certain mechanical interactions through button configuration to bounce back from possible game over. Narrative designers of both animated films and video games could employ the results of this study as a consideration in designing dramatic battle scenes that contain apostrophes to evoke narrative engagement from the audiences and gamers.

Farewell to Arms – Farewell in Arms: Depictions of Weapons on Stone and in Hellenistic Inscriptional Epigrams

Abstract Through four case studies I discuss the importance and frequency of the appearance of weapons (an important element of epic imagery) in funerary poetry, and its relation to representations of arms on gravestones and monuments in the Hellenistic period, geographically ranging from Lycia and Caria to the Black Sea, from mainland Greece to the Aegean islands. One of the most common features of poetic epitaphs for soldiers (including citizens, mercenaries, and soldiers belonging to royal armies) is the celebration of the military valor (arete) of the deceased; on the other hand, except for the spear, weapons are not mentioned often in funerary poetry. When they are not mentioned in the epitaph, or when an epitaph is not present, weapons are sometimes represented on the funerary monument itself, in the form of reliefs or paintings, either in the context of a battle scene, or carried by the standing deceased, or simply as isolated objects, as symbols of his profession or social rank in life.

FEATURES OF BATTLE SCENE STAGING IN THE UKRAINIAN OPERA

The author examines the concept of staging battle scenes in Ukrainian opera with heroicpatriotic themes. Attention is paid to the need to rethink the given topic in the conditions of the dominance of foreign repertoire over national works, the inclination of the young generation to cosmopolitanism against the background of digitalization of society and the wide spread of information technologies. Emphasis is placed on conducting active searches and experiments in the optimization of the spectacular and dramaturgical components with the integration of artistic means of expression and modern art technologies in the battle scenes of domestic opera performances. Historiographical sources from the everyday life of the Ukrainian Cossacks, their military training and military operations are analyzed and differentiated; art studies on the resolution of battle scenes in M. Lysenko's "Taras Bulba" and K. Dankevich's "Bohdan Khmelnytskyi" offer interesting approaches to the topic of the article. It was possible to find out the phenomenon of the appearance and formation of the Zaporizhya Cossacks, its conditioning by socio-economic factors. The essence of the term "Sich" has been established in its historical progress with the acquisition of the status of the center of the Zaporizhya Army and the assignment to it of the functions of a special state entity for the protection of the Orthodox world from Muslim and Catholic oppressors. The division of the Ukrainian Cossacks into two categories is outlined: sichoviks — direct participants in military operations, and zimivchakiv that provided the livelihood and fighting capacity of the former. The peculiarities of the combat training of the Cossacks in Sich, the advantages of their universal military training in the possession of various types of weapons in comparison with the armies of Eastern and Western Europe were studied. The principles of building certain military camp according to the Cossack custom have been revealed. The nature of combat techniques and tactical adjustments in the conditions of a permanent change in the situation on the battlefield is described. The scenes of the trials of the sons of Taras on Sich, the siege and storming of Dubno in the opera "Taras Bulba" by Mykola Lysenko, the battle at Yellow Waters in the opera "Bohdan Khmelnytskyi" by Kostiantyn Dankevich were modeled. Their historically reliable stylization in the context of synthesizing combat techniques, dance and choral performance with video broadcast of individual episodes of the battle is noted. The algorithm for staging battle episodes in Ukrainian opera is formulated with the need for performers to master the techniques of stage combat, coordination of interactions between them, and compliance with safety techniques in order to avoid industrial injuries. The author outlines the prospects of further investigations for the reliable display of battle scenes in opera performances in accordance with the peculiarities of the historical era, military traditions and armaments of a certain country, optimizing their solution with the use of modern art technologies.

The Creative of Isan Music in Soundscape, Battle of Naga

Objectives: This article is part of the research with the objective of creating Isan music in the soundscape, "Battle of Naga." Methods: The researcher used a creative process in music creation, consisting of two parts. The first part is song design, where the researcher took five parts from the story of Sinxay on the Battle of Naga to use as the song structure. Isan melody was used to reinterpret and give new meaning. The melodies included Lai Thang San, Lai Thang Yao, Lai Ka Ten Gon, Lai An Nangseu, Phaya poem reading, and Sinxay melody. The second part consisted of finding the soundscape from Isan musical instruments through the process of playing and adjusting the sounds using technology. This involved capturing sounds of Naga, water, wind, atmosphere, and various situational sounds from the story, and projecting the sounds of Isan musical instruments into water, mixing them with actual instrument sounds. Results: The sounds included the sound of Naga, water, wind, atmosphere, the sounds of situations happening in the story, and the sound projection of Isan musical instruments into the water mixed with the actual sounds of the instruments. At the same time, the sound was mixed with the blowing of wind into the microphone to create the sound of the Garuda’s wings. Additionally, the researcher used the microphone to rub against a fishtank to create sound effects for accompanying the music, such as in the battle scene. Conclusion: The creative process used in this research successfully blended traditional Isan melodies with innovative soundscapes, creating a unique auditory experience for the "Battle of Naga." This approach not only preserved the cultural essence of Isan music but also introduced new dimensions through the use of technology, enhancing the storytelling and emotional impact of the music.

Rare Polonica at the Thomas Fisher Rare Book Library, University of Toronto

This article describes a collection of rare Polonica, numbering over five hundred books, pamphlets, manuscripts, and prints and engravings, donated to the Thomas Fisher Rare Book Library in 2001 by Karol Godlewski and his family. The donor’s uncle, Count Emeryk Hutten Czapski (1897–1979), assembled the extraordinary collection. The material includes works written, edited, or translated by Polish authors. The publication dates range from 1505 to the mid-1970s, with two hundred titles predating 1801. The subject matter ranges from texts written by Terence and Plutarch to biographies of Polish kings, details of famous battles, and poetry. There are also etchings of Polish personages, palaces, landscapes, or battle scenes, many of artistic importance.

Epitaphs for Menas of Bithynia Fallen in Battle

The stele bears two epitaphs for the Bithynian officer Menas, who fell in battle most likely on the plain of Corupedium, near the Phrygian River, in Lydia. The stele is accompanied by a bas-relief, in which the battle scene described in the first epigram (ll. 5‑6) is depicted. The epitaphs are separated by ἄλλο. Regarding the identification of the battle, various hypotheses have been proposed, including the Battle of Corupedium between Lysimachus and Seleucus I (281 BC), the Battle of Magnesia between Rome and Antiochus III (190/189 BC), and the conflicts between the Kingdoms of Bithynia and Pergamon (208‑183 BC; 156‑154 BC).

Великий – значительный – снова великий: как в советской культуре 1920–1960-х годов искали место В. В. Верещагину

Vasily Vereshchagin’s cultural reputation has been popularly viewed and scholarly treated as a narrow space between two dominant genres in his artistry – battle scenes and ethnographical (or even Orientalist) paint-ings. Since the 1950s, the former has prevailed, so the narrative formula khudozhnik-batalist (“the battle paint-er”) has become an obvious cliché to characterize Vereshchagin’s role in art history, especially within the con-text of 19th-century Russian realistic painting. Based on both archival and published sources, the article traces the academic, ideological and personal circumstances that led to the development of this discursive concept from the 1920s to the 1960s. It also shows how controversial the final evolution of this concept was when it became a stereotype during the years of late Stalinism. But making Vereshchagin “one of the greatest battle painters in the world art history” (as art historian Andrey K. Lebedev proclaimed in his fundamental monograph published in 1958) has also led to his recognition as one of the greatest Russian classic painters, which was rather more dis-putable. In the Soviet hierarchy of classic artists, Vereshchagin did not achieve high status until the late 1930s, due to his bourgeois background and colonialist implications of his work, found and then castigated by some Marxist critics. Nevertheless, he was perceived as close (sometimes confusingly) to the circle of Peredvizhniks, and was considered to share a common ideological and aesthetic program with them. Such ambivalence can be seen as a sign of Vereshchagin’s artistic marginality. However, we can argue that, due to the relation to the Peredvizhniki movement and his ideological and stylistic unity with it (as was scholarly established by A. K. Lebedev’s studies in the 1930s – the 1960s), Vereshchagin’s personality and heritage were given a long-awaited permission to claim a distinct place in Soviet culture.

ГЕРОЙ ПОД СТЕНАМИ КРЕПОСТИ: К ВОПРОСУ О ВИЗУАЛЬНОЙ РЕПРЕЗЕНТАЦИИ РАМСЕСА II В БИТВЕ ПРИ КАДЕШЕ

The Ramesseum temple erected under Ramesses II is one of the most significant monuments of Egyptian architecture of the XIX dynasty. Battle scenes illustrating the last major battle of the Bronze Age – the Battle of Kadesh – have been preserved on its walls. The fierce opposition of the young Pharaoh to the Hittites led to the signing of the first peace treaty in history. In Egyptian sources, Ramesses appears as a victor who prevailed over the enemy, thanks to his personal qualities and the will of the gods. The comparison of written evidence and relief images allows us to form an objective vision of the battle of Kadesh, its course and results. The analysis of sources also makes it possible to identify specific features of Egyptian official art, which include the canonical rules for the image presentation of the victorious king, as well as the artistic techniques used for that. Special attention is paid to the context of the creation of reliefs, namely, the state ideology and worldview of the ancient Egyptians in the era of the New Kingdom.

<육미당기>의 군담 창작 방식과 작가 의식

The purpose of this study is to examine the creation of military jokes in Yukmidanggi and to identify their significance. <Yukmidanggi is a Korean short story written by Seo Yoo-young in the mid-19th century, and is considered to be a work in which the author's experiences and historical awareness are internalized. In particular, Seo Yoo-young reveals her historical awareness through numerous poems, so by examining the creative process of Yukmi-dang-gi, we will be able to grasp her creative motivation and thematic consciousness.
 The military jokes in Yukmidanggi can be divided into two parts. The first is the story of Tang and Tavern, and the second is the story of repelling the Japanese army from Silla. Since these two sagas appear in the middle and second half of the work, I examined the characteristic aspects of each. At this time, the first gungdam in Yukmidanggi can be divided into the part where the battle scene is described and the part where the identity of the female protagonist, Baek Ryun, is revealed, and it was found that it was influenced by the gungdam of Kim Heejingjeon and Hajin Yangmunrok, respectively. The second gundam is represented as a battle between Silla and Woguk, and in particular, it maximizes realism by introducing real-life characters such as Jang Bogo and Jeongye in the battle between Silla and Woguk. This is one of the author's narrative strategies to reinvent Gundam by reflecting historical facts.
 Seo Yoo-young is well versed in history. Therefore, in the beginning of the work, before the protagonist's narrative begins, he summarizes the historical flow from the establishment of Dangunjoseon to Silla's achievement of unification, revealing his sense of history. <At the time of Yukmidanggi's creation, in the mid-19th century, Korean society was in turmoil. Under Andong Kim's regime from the beginning of the 19th century, the turbulence of the so-called Three Kingdoms, including Jeonjeong, Gunjeong, and Hwangok, was intensified, and the people's lives were disrupted by the traveling of tamgwan ducks. In response, the peasants finally started the Jinju Rebellion in the spring of 1862, causing civil unrest all over the country. At the same time as the peasant uprising broke out and expanded nationwide, the Donghak movement centered on Choi Je-woo was founded in Gyeongju, causing a major upheaval in Joseon society.
 In addition to the many internal disruptions caused by the Sedo politics, there were other problems caused by foreign powers. Politically and ideologically, it was the introduction of Catholicism, and militarily and socially, it was the invasion of foreign powers by the Lee Yangsun. The period of the mid-19th century, which was a period of chaos in Joseon society, is projected by Seo Yoo-young in Yukmidanggi. At this time, the two military discourses that appear in the middle and second half of the narrative reveal the legitimacy of the Northern Bees through the war to conquer Orang Kae and the sense of duty of Imran through the conquest of Whyguk. In other words, Seo Yoo-young internalizes his experiences through Yukmidanggi and executes the fictional realization of his personal desires.

Magyar történelmi témák 18. századi bécsi festői: adatok Wenzel Pohl munkásságához és az August Rumelnek tulajdonított mohácsi csata-képhez

Media news made the name of Wenzel Pohl known in Hungary in the early 2000s, for the two large history paintings (The Battle of Mohács, Saint Stephen converting the Hungarians to the christian faith), which had cropped up in the art trade and which were purchased by the Hungarian state and deposited in the Hungarian embassy in Vienna, were attributed to him. Although more recent research has proposed that the painter of the cycle once consisting of six pieces was most probably August Rumel and not Pohl, it is worth knowing of Pohl’s artistic activity irrespective of the Hungarian relevance, too, because his person is gradually fading out of art historiography – for example, his name is missing from the 96th volume of the Saur Allgemeines Künstlerlexikon published in 2017.The best-known Pohl portraits are the ones he painted of the noted Jesuit astronomer, mathematician and physicist Miksa Hell. A full-figure portrait shows the scientist in traditional Sami costume during his research trip to the North, and we know of a portrait showing Hell is a monk’s frock. His engraved copies of paintings in the Viennese imperial collection, real forerunners to the representative 19th century album of prints presenting the collection, probably belong to a series. In the cycle of paintings about the coronation of Joseph II as Holy Roman Emperor (Frankfurt, 1765) he was assigned the painting of architectural details, which is confirmed by the fact that he was sent on a study trip to Frankfurt to make drawn sketches of the venues of the event. After the representative painting of Martin van Meytens he made a small-scale version of the group portrait of Maria Theresa and her family. His chef d’oeuvre is the representative painting series showing the events of the coronation of Maria Theresa in Pozsony in 1741 painted for the Hungarian court chancellery in Vienna. He painted it with Franz Messmer in the second half of the 1760s. In contrast, the three portraits of monarchs in Riesensaal in Innsbruck so far attributed to him by researchers were actually painted by Jakob Kohl.The other part of the paper contributes a few new viewpoints to the examination of the painting about the battle of Mohács earlier attributed to Pohl. In addition to contemporaneous woodcuts of the tragic battle of 1526 in news-letters and pamphlets in German, to 16th century Turkish miniatures, and diverse 16–18th century European manuscript and book illustrations, a ceiling fresco in Garamszentbenedek and several large paintings – including Rumel’s work – also conjured up the battle in the 18th century. Since in the nation’s historical consciousness and cultural memory the battle of Mohács did not acquire its symbolic, mythic position represented to this day before the 19th century, the two works of art were way ahead of their time in anticipating the salient position of the tragic event, because, unlike, for example, István dorffmaister’s late 18th century pictures ordered in Mohács, they show the battle as a fatal even in the history of the entire nation. on the other side, by the terminating piece of the series ordered for the Transylvanian court chancellery being the battle of Mohács, the client departed from the 18th century imperial, dynastic outlook which presented as positive parallels to the battle of Mohács and the capture of Szigetvár by the Turks the victorious battles of the late 17th century liberating war led by the Habsburg Empire: the second battle of Mohács and the recapture of Szigetvár, partly as examples of divine justice and partly as legitimation of the Habsburg Empire’s territorial expansion “earned with blood”. It is noteworthy that the right side of central scene of Rumel’s Battle of Mohács resembles the composition of leonardo da Vinci’s Battle of Anghiari surviving in copies only. It is presumable that the renaissance battle scenes served as a model example for the painter.

Artur Orlyonov's work in the context of the development of modern historical battle painting

The purpose of the article is to examine the creative work of the artist Artur Orlionov in the context of the development of contemporary historical and battle painting, focusing on the themes and series of works, general techniques and methods of artistic representation. The research methodology consists in the application of general scientific and special research methods, in particular, analysis and synthesis, induction and deduction, generalisation and abstraction, rerview and analysis, description and comparison, which helped to analyse the works of A. Orlionov. The scientific novelty of the work lies in the fact that for the first time the work of the contemporary Kyiv artist A. Orlionov became the subject of a scientific study, within which the generalisation and a brief systematisation of the thematic focus of artistic works were carried out, as well as the historical and artistic dominants of the works, stylistic features of the construction were determined. Conclusions. As a result of the conducted research, it was established that A. Orlionov belongs to the generation of contemporary artists of the historical and battle genre, representing the Kyiv school of painting. His creative work reflects a significant chronological range of Ukrainian history, starting with Kyivan Rus, the Ukrainian Middle Ages, the Cossack era, the Liberation Movement and the modern period. According to the plot and number of works, they can be combined into separate series. In terms of the plot, A. Orlionov's works include depictions of battle scenes, thematic paintings of historical significance, portraits of outstanding figures of Ukrainian history. A. Orlionov's work belongs to modern examples of Ukrainian historical and battle painting, which, based on the study of numerous sources and facts, contains the author's understanding and interpretation of important historical events and figures of different periods of Ukrainian history. Key words: historical and battle painting, Kyiv school of painting, artist Artur Orlionov, National Academy of Fine Arts and Architecture, composition, stylistic dominants, battles, historical figures, history of Ukraine.

‘Two Armies flye in…’: Battle scenes in English Renaissance theatre

AbstractOne of the most spectacular characteristics of English Renaissance theatre is the propensity for battle scenes. Between 1576 and 1616, battle scenes appear in a third of all surviving plays and, judging from the titles, the frequency may have been even higher in the lost plays. The popularity of battle scenes is indicative both of early modern fascination with history as spectacle and of the imminence of contemporary warfare, especially in the final decades of the reign of Elizabeth I. Based on quantitative studies, this paper offers a survey of the evolution and proliferation of battle scenes in the late sixteenth and early seventeenth centuries, and I will critically assess the general assumption that battle scenes eventually waned from the early modern stage as a consequence of the ascent to the throne of the peace‐seeking James I. For reasons to be discussed, it is quite unlikely that James's doctrine on foreign politics had any significant effect on the staging of war in theatre.

The Fateful Lightning: Civil War Stories and the Magazine Marketplace, 1861–1876 by Kathleen Diffley

Reviewed by: The Fateful Lightning: Civil War Stories and the Magazine Marketplace, 1861–1876 by Kathleen Diffley Cynthia Patterson The Fateful Lightning: Civil War Stories and the Magazine Marketplace, 1861–1876. By Kathleen Diffley. (Athens: University of Georgia Press, 2021. Pp. xviii, 249. Paper, $36.95, ISBN 978-0-8203-6065-2.) In The Fateful Lightning: Civil War Stories and the Magazine Marketplace, 1861–1876, the second installment of a planned three-volume series on Civil War magazine fiction, Kathleen Diffley extends her analysis both geographically and thematically to lesser-known periodicals published in cities radiating outward from the established East Coast publishing centers of New York, Boston, and Philadelphia. In doing so, she highlights sectional differences in how people understood the war and its aftermath by examining Baltimore’s Southern Magazine, Charlotte’s The Land We Love, Chicago’s Lakeside Monthly, and San Francisco’s Overland Monthly. The book includes an introduction, four identically organized chapters— each treating one of the aforementioned magazines—forty-three illustrations, and a coda. Each chapter is broken down into three discrete sections: the first [End Page 369] provides the publication history of the periodical and historical background contextualizing the geographical and political idiosyncrasies of the respective cities of publication; the second reproduces a Civil War–themed short story published in that periodical; the third section, in Diffley’s words, takes “a closer look at the traces of one magazine’s agenda, its dodges, and its positioning in a larger literary marketplace” (p. 19). As the author asserts, “The Fateful Lightning examines the narrative innovations and colloquial vitality that early Civil War stories also provoked in American letters” (p. 1). The introduction, subtitled “Dépôt Culture,” references the Old French word depost and alludes to changes in U.S. mail delivery that relied on America’s expanding rail system and the “urban terminals and country stations” where eager citizens claimed arriving periodicals (p. 15). The opening sentence of this introduction ties the rail motif to the book’s title, The Fateful Lightning, by noting that the author of what would become known as the “Battle Hymn of the Republic,” Julia Ward Howe, arrived in Washington, D.C., in November 1861 by train to attend a meeting of the U.S. Sanitary Commission with her husband. Subsequent chapters imagine the rail system radiating outward from the nation’s capital to four cities: Baltimore, Charlotte, Chicago, and San Francisco. Each chapter links the magazine under examination with one of four “key developments” that impacted magazine production, distribution, and consumption (p. 2). Chapter 1, “Potshots,” highlights how changes to copyright laws impacted the work of writers, editors, and publishers of periodicals such as Baltimore’s Southern Magazine. In chapter 2, “Old Times There,” Diffley examines the impact of the reorganization of the nation’s postal system on magazines such as Charlotte’s The Land We Love. In the third chapter, “Railroaded,” the author traces the impact of “railroad sprawl” on western regions of the war, as depicted in Chicago’s Lakeside Monthly (p. 102). Chapter 4, “Emancipation and Grizzly Reckoning,” treats the impact of photography on depictions of battle scenes, and the “doubling” effect produced by the new “stereoscope” on the magazine literature of San Francisco’s Overland Monthly (p. 159). The coda, titled “Depot, Culture, 1876,” reengages and weaves together earlier threads to examine how the “glory” imagined in Howe’s earlier “Battle Hymn” and imaged in coverage of the 1876 Centennial Exhibition held in Philadelphia belied a fading of American aspirations in the wake of Reconstruction. While the volume is copiously illustrated, readers might wish for the “magnifying glass” that Civil War–era gallery visitors used while examining battlefield photography on display (p. 153). The reproduction of many of the illustrations challenges an otherwise engaged reader to decipher the images, even when provided with the author’s detailed descriptions. And though it is “beautifully written” as a back-cover note avers, Diffley’s book will best be enjoyed by advanced graduate students and scholars in the field, unless one particularly enjoys parsing out difficult sentences with undergraduate students. That said, Diffley’s work continues to make vital contributions to our understanding of Civil War...

Eye Painting Ritual, Bull Sacrifice and the Myth of the Eye of Horus in Ancient Egypt

In the predynastic period, the funeral rite included the main rituals: supplying water to the deceased, food in the form of a bull’s front leg and staining the eyelids with green paint. In the protodynastic and early dynastic periods, the idea of ​​a luminous beginning was embodied in the image of a bull. On the ceremonial palettes, the bull and calf act as a sacrificial animal. This gives grounds to analyze the materials on the origins of the convergence and even intersection of the ritual of painting the eyes and the sacrifice of the bull in the written period in the context of their involvement in the myth of the Eye of Horus. The ritualized form of the myth was reflected in the images and motives inherent in a society that was at the stage of state formation − in the scenes of confrontation and battle between the supporters of the supreme ruler — the people of God Horus with enemies. Later, in written sources, this idea, clothed in mythical imagery, was preserved as the core in of the myth about the Eye of deity Horus.

Reportaż z pola bitwy. Jak przekładać opisy bitwy w Mahabharacie

Report from the Battlefield: How to Translate Battle Descriptions in the Mahābhārata This article discusses the problem of scene construal in translation, based on a selected description of the battle scene in the Mahābhārata. It is an old Indian epic (c. 400 BCE–400 CE), the greatest epic of mankind (c. 100,000 stanzas), composed in Sanskrit, most likely orally, and certainly distributed in this way. Its main theme is the war between related families. In Indology, descriptions of battles have been treated as conventional because of their orality, however, a closer analysis shows their well- thought-out structure. The article discusses examples of zooming-in/out strategy (Langacker 2005) as one of the methods of active scene building. I show how the authors of the Mahābhārata construed doubly dynamic scenes in which both the content of the description (i.e. the fight) and the description itself is dynamic, reflecting the narrator’s movement. I also discuss the difficulties it presents to the Polish translator and consider the extent to which Polish inflection allows for a similar construal, thus meeting the translation requirements proposed by Tabakowska (1993). My hypothesis is that in many cases such doubly dynamic scenes can be successfully reflected in Polish, as opposed to an English translation (Cherniak 2008–9), thus preserving the extraordinary value of the original.

Analysis of the Chinese-style elements in the Chinese animation “Five Elements of Misty Mountains”

"Five Elements of Misty Mountain" is a domestic anime to be released on the Internet in the summer of 2020, with the cooperation of the production team led by Lin Hun. The work is to explore the Chinese elements of "Five Elements of Misty Mountain" and their significance to the future development and innovation of Chinese animation. The work conducts a specific study on the Chinese elements of "Five Elements of Misty Mountain", analyzing and extracting the details of Chinese martial arts and fighting in the battle scenes, analyzing the ink and wash style of painting in the animation, and discovering Chinese elements in the character settings of the animation. Finally, the work argues that the animation film "Five Elements of Misty Mountains" shows that implementing the connotation of Chinese traditional culture, driving the development of Chinese excellent traditional culture, constantly updating the technology and style of Chinese animation, bringing contemporary expressions, leading the public to aggravate the deep understanding of Chinese traditional culture by enjoying Chinese animation, and thinking deeply about how to meet the spiritual needs and social demands of the current audience in order to achieve a breakthrough and make Chinese animation truly go to the field of the world.

Lope de Vega. Fuenteovejuna (1612)

Lope de Vega. <i>Fuenteovejuna</i> (1612)

The Sustainable Adaptation of Traditional Art into Digital Medium (Case Study the Motion of Shadow Puppet Scene Perang Kembang)

“Perang Kembang” is a battle scene between the knights against the giant in traditional shadow puppet performance. A knight who has soft and gentle movement is in stark contrast to the giant who has a rugged and attractive movement. The two contrasting characters can represent a very interesting and beautiful war scene, so this war scene becomes a scene awaiting by the audience, as well as a scene capable of showing the skill of the Puppeteer in the art of puppet movement. But how to adapt the beauty of the shadow puppet shadow "Perang Kembang" scene to the digital animation medium? So that the beauty of puppet motion can still continue to be enjoyed by new generations with new media, especially through digital animation media? So to answer this problem, this study uses art-based research methods by experimenting with the motion of digital animation based on the pattern of movement of the shadow of the “Perang Kembang” scenes. Adaptation motion puppet scene " Perang Kembang" to the digital medium can be done through some experimental methods of motion with the best output in the form of an animated silhouette. The choice of silhouette animation refers to the nature of puppets as a the art of shadow play. The results of this study are the "Perang Kembang" puppet motion experimentation in the form of digital silhouette animation.

The leading motifs and images of the poetry book by Pavlo Vyshebaba “Just don't write to me about the war”

The article aims to analyse the leading motifs and artistic features of the poetic language of Pavlo Vyshebaba's debut book “Just don't write to me about the war”. The relevance of this study is stipulated by the need to understand combatant literature as a component of contemporary Ukrainian war literature; the need to determine the specifics of the correlation between the artistic picture of the world of the book and the question of identity. The subject of the analysis is the peculiarities of poetic of Vyshebaba's poetic representation of the theme man and war. For this purpose, the following methods are used hermeneutic, intertextual, and archetypal scientific methods. It is observed that the author's interpretation of the theme of man and war is revealed in a complex of motifs of social, philosophical, and intimate lyrics. The issues of personal, generational, and national identity are identified as the leitmotif of Vyshebaba's poetry book. The outlines of the artistic picture of the world revealed in the topos of war, which is structured by front, shelter, foreign land, are outlined. In the course of the study, the author proposes a typology of the book's works into the lyrics of choice, created before the full-scale war, and the lyrics of duty, written after its outbreak. The main problematic of the former is related to the question of the national and creative identity of the lyrical hero. The choice made by the lyrical hero determines his fate in the time-space of the war, outlined in the lyrics of the rank. It manifests itself in historically specific, literary, cultural, and autobiographical coordinates. When modelling the image of war, the poet does not resort to detailed battle scenes and military vocabulary. Instead, he prefers to reflect on the meaning of existence, activates the motif of memory, and plunges into the psychological portrait of the hero. It has been determined that, as in the lyrics of choice, the peculiarity of the disclosure of the theme man and war is due to the combatant's experience and the author's artistic dialogism. His idiostyle is characterised by biblical reminiscences and allusions, references to Dante, J. Donne, Voltaire, etc.; intertextual connections at the level of titles (City with Chimeras, Divine Comedy, etc.), poetic stylizations (prayer, carol, counting, lullaby, hokku). In fact, the question of the sources of intertextuality and the peculiarities of the author's interpretation is a prospect for further study of Vyshebaba's lyrics. In fact, the question of the sources of intertextuality and the peculiarities of the author's interpretation is a prospect for further study of Vyshebaba's lyrics.

ФИЛОСОФСКИЕ И ИДЕОЛОГИЧЕСКИЕ АСПЕКТЫ ДЕКОРАТИВНОЙ ПРОГРАММЫ ХРАМА БЕЙТ-ЭЛЬ-ВАЛИ

The Nubian temple of Beit el-Wali, erected under Ramesses II, has long been considered by experts as a monument of secondary importance on the southern borders of Ancient Egypt. It is significantly smaller than other religious buildings of that era. However its decorative program is an important source of knowledge about philosophical and ideological concepts that existed in Egypt in the early period of reign of Ramesses II. Reliefs decorating the temple demonstrate transition from a canonical model of battle scenes, characteristic of the Seti I era, to a new stage in its development. In the decor of Beit el-Wali, one can find signs of a search for new artistic techniques, iconographic and compositional solutions, which would later be embodied in the largest temples in Egypt. The article is about studying the decorative program of the Beit el-Wali temple in its connection with the state ideology and worldview paradigm in the era of Ramses II