Thematic Parallels Research Articles

Тюркский свод Прохора Коломнятина в ряду нарративных памятников крымской тематики XIV–XVII веков

Research objectives: To analyze the genre-typological and stylistic peculiarities of the narrative parts that accompany the actual dictionary entries of the Turkic-Russian dictionary, and thus to add a new source to the group of narrative monuments from the fourteenth to seventeenth centuries centuries which pertain to Crimea. Research materials: The Turkic-Russian dictionary (“Kniga Elihv”) included in the manuscript miscellany (“Tsvetnik”) that was compiled by the hieromonk, Prokhor Kolomiatin, in 1668. The manuscript is kept in the collection of the State Historical Museum (Muzeyskoe sobr., No. 2803). Results and novelty of the research: The Turkic-Russian dictionary included in Prokhor Kolomiatin’s miscellany is one of the earliest examples of a Turkic lexicography in the Cyrillic tradition. Along with the records of lexemes and word collocations, it contains lengthy narratives concerning religion, geography, and ethnography of Crimea. The nature of the information provided suggests that the author of the dictionary was living in Crimea for some time, most likely as a prisoner, although having a certain privileged status. Having little opportunity to travel outside the peninsula, he received knowledge, including information about other countries, from verbal communication with the local inhabitants made up of different national and social groups. Analysis of the content of the narrative material allows us to state that the text has its own degree of originality, although it naturally finds thematic and genre parallels with the well-known medieval narratives concerning Crimea.

“Chizhiki tak i mrut”

My article will investigate the ways in which metaphors for birds, especially birds of song, in the correspondence between the protagonists of Dostoevsky's novel “Poor Folk” (Бедные люди, 1846) — Makar Devushkin and Varen'ka Dobroselova — refer back to Goethe's scandalously popular epistolary novel “The Sufferings of Young Werther” (Die Leiden des jungen Werthers, 1774). I propose that Dostoevsky involves a metaphoric net as an oblique subtext of references to recent popular European literature to convey the idea of Romantic death (bearing in mind the extent to which “Werther”, though written in the late eighteenth century, retained its cultural relevance for Russian readers in Dostoevsky's time). As I am investigating the larger picture of Dostoevsky's treatment of death and suicide in his shorter fiction as well as his dialogue with Goethe on this subject, I also argue that in “Poor Folk” the parody and stylization of Romantic discourse in Rataziaev's texts (and elsewhere) reveals thematic parallels between the Russian and the German narratives, and demonstrates Dostoevsky's viewpoint on death, Romanticism and Realism. For the methodological basis of my study, I will apply Mikhail Bakhtin's ideas on parody and stylization from his seminal “Problems of Dostoevsky's Poetics” (especially from the chapter “Dostoevsky's Discourse”.

A marriage of convenience or necessity? Research and policy implications for electrifying upstream petroleum production systems with renewables

There is an attempt by conventional oil and gas companies to reduce greenhouse gas emissions through sustainability practices to maintain a position of relevance in a low-carbon energy future. One of such measures is the idea of upstream energy integration (or field electrification), yet emerging and in its nascency. The concept of energy integration is to electrify upstream petroleum production operations through renewables to reduce carbon intensity and mitigate process emissions. While this seems promising, its dynamics and wider ramifications remain unexplored in the scholarly literature. Drawing on the socio-technical transition theory and adopting a qualitative approach to energy systems analysis, this perspective type piece identifies and discusses the implications of the emerging trend of upstream energy integration. The analysis proceeds with three thematic parallels and five central motifs that potentially set research and policy framing agendas to complement existing energy governance frameworks. These include Process energy needs, Resources and materials sourcing, Embodied energy implications, Scalar deployment costing and Temporal dynamics for transition (the PREST framework).

The Linguistic Mix of Names in Lll

Abstract The names in Shakespeare’s Love’s Labour’s Lost present a delightful linguistic mix. The names of major characters are Anglicized names of actual French nobles, which emphasizes the thematic parallelism of historical and fictive events. Other names broaden the international landscape, including Nathaniel, a biblical association, Forester (which is French as well as English), and Armado, a Spanish tag. The length of this paper does not allow room to describe many names in detail. However, the cross-cultural puns make this play especially interesting; e.g., Moth has at least two meanings in English, but pronounced mot in French means ‘word,’ ‘remark,’ ‘cue,’ or ‘answer to a riddle’ – which points most clearly to a thematic meaning. A full analysis of this play will appear soon in my book Names as Metaphors in Shakespeare’s Comedies (Vernon Press).

Electroimmunology and cardiac arrhythmia.

Conduction disorders and arrhythmias remain difficult to treat and are increasingly prevalent owing to the increasing age and body mass of the general population, because both are risk factors for arrhythmia. Many of the underlying conditions that give rise to arrhythmia - including atrial fibrillation and ventricular arrhythmia, which frequently occur in patients with acute myocardial ischaemia or heart failure - can have an inflammatory component. In the past, inflammation was viewed mostly as an epiphenomenon associated with arrhythmia; however, the recently discovered inflammatory and non-canonical functions of cardiac immune cells indicate that leukocytes can be arrhythmogenic either by altering tissue composition or by interacting with cardiomyocytes; for example, by changing their phenotype or perhaps even by directly interfering with conduction. In this Review, we discuss the electrophysiological properties of leukocytes and how these cells relate to conduction in the heart. Given the thematic parallels, we also summarize the interactions between immune cells and neural systems that influence information transfer, extrapolating findings from the field of neuroscience to the heart and defining common themes. We aim to bridge the knowledge gap between electrophysiology and immunology, to promote conceptual connections between these two fields and to explore promising opportunities for future research.

The Virgin Mother Sarah: The Characterization of the Matriarch in Genesis Rabbah

Abstract This article analyzes the portrayal of the matriarch Sarah in the fifth-century Palestinian rabbinic midrash Genesis Rabbah. The midrash not only dedicates a large number of derashot to the matriarch, but it repeatedly depicts her as a model of personal and religious excellence. In order to understand this development, I turn my attention to the portrayal of Sarah in the works of Origen of Alexandria. Continuing New Testament themes, Origen presents her as the spiritual mother of Christianity and a prefiguration of Jesus’ mother Mary. Various textual and thematic parallels help demonstrate that the rabbis were both aware of this rhetoric and responded to it. Based on this, I conclude that the rabbis used their portrayal of Sarah to combat the Christian appropriation of the matriarch on the one hand, and to establish her as a Jewish alternative to the Virgin Mary on the other.

О ЛИТЕРАТУРНЫХ РЕМИНИСЦЕНЦИЯХ В НАБРОСКЕ А.С. ПУШКИНА «И ТЫ ТУТ БЫЛ...»

Object of the article: Pushkin’s essay “I ty tut byl…” ("And You Were Here..." (1835). Subject of the article: literary reminiscences in the Pushkin essay. Purpose of the research: reconstruction of the essay’s plot design. Results: the authors argue that Pushkin’s essay "And you were here ..." has parallel allusions, on the one hand, to an episode from the “Chronicles” by Jean Froissart, and on the other hand, to the play "Wat Tyler" by Robert Southey. Field of application: literary criticism. Conclusion: Comparison of the essay “And you were here ...” with episodes from “Chronicles” by Froissart and Southey’s play “Wat Tyler” indicates that they could serve as literary sources of Pushkin’s text. Thematic parallels between “And you were here...” and some fragments of “Chronicles” and the play “Wat Tyler” help to reconstruct the plot design of Pushkin’s essay and support the idea of its semantic completeness. The author is indebted to Oleg B. Zaslavsky for stimulating discussion and helpful advice.

En fædrene forbindelse?: Om sammenhængen mellem de fire Hrafnistumannasögur

This article explores the connection between the four legendary sagas collectively known as the Hrafnistumannasögur. Through analysis of their entire manuscript transmission it is investigated how the saga group is transmitted historically, and it is argued that the 15th century manuscript AM 343 a 4to has had a significant impact on the reception of the sagas as a group. An analysis of literary elements and parallels between the sagas reveals substantial differences in genre, themes, and literary style, which appears to contradict the idea that the group was originally connected. The article argues that the Hrafnistumannasögur cannot without hesitation be treated as a group, and it is proposed that the sagas have been grouped together in some manuscripts not due to inherent thematic parallels but because of historical and cultural circumstances that favored the genealogical ties between saga heroes. It is argued that the connection, however fragmentary and instable, was formed initially between Ketils saga hængs and Gríms saga loðinkinna, after which these sagas were grouped with Örvar-Odds saga. Finally, Áns saga bogsveigis was added to the group, and it is hypothesized, that this last connection presumably happened around the time of the writing of the important manuscript AM 343 a 4to (ca. 1450–75).

Thematic Parallels in Shakespeare and the 19th Century Urdu Poetry: A Comparative Study

This paper highlights that although Urdu poetry in the 19th century and English in Shakespeare’s time is the embodiment of two different cultural, social, religious, and environmental factors, in their basic philosophies, both shared much that seems to be brought from a similar realm of thought. In this paper, the authors focus only on the thematic comparison of the key ideas, concentrating on topics and themes familiar in that time like life and death, love, self-praise, compensation theory, immortality, loss and exile, and music. This paper further discusses how Shakespeare’s sonnets and plays and Urdu poetry of the19th century poets Ghalib, Mir, Zafar, and Zauq presents common human concerns regardless of geographical boundaries and time.

DasThothbuch: eine ägyptische Vorlage der platonischen Schriftkritik imPhaidros?

AbstractIn 2005, an Egyptian dialogue’seditio princepswas published, named by its editors the ‘Book of Thoth’. While prior research on the relation between this dialogue and theCorpus Hermeticumcould not identify far reaching parallels, another relation has not been taken into account yet: the relation to Plato’s critique of writing in thePhaedrus. The present article argues that very likely theBook of Thothforms a source of the Platonic text, to which Plato responds with a diametrically opposed criticism. To underline the argument, literal and thematic parallels are pointed out in a first step. Then, secondly, the focus is put on the order of the two texts. Finally, a systematic comparison between the Platonic and the Egyptian understanding of scripture underscores the argument. Thematic parallels and literal correspondences are numerous and therefore suggest excluding a similarity by accident: In theBook of Thothwe grasp a concrete Egyptian source of Plato for the first time.

Near Eastern Echoes in Iliad 16.33–35

Abstract This article reexamines Patroclus’s famous comment on Achilles’s cruelty in which the sea and the rocks take up the role of the latter’s parents (Iliad 16.33–35). The verses reflect Near Eastern myths about the birth of menacing creatures from the sea and the rocks and are particularly associated with the Song of Hedammu and the Song of Ullikummi of the Hurro-Hittite tradition. Thematic, mythological, and dictional parallels among these texts are discussed in order to explore the existence of a common theme with specific connotations in the broader region of West Asia.

Hostility toward Gender in Catholic and Political Right-Wing Movements

Starting with a speech by Theodor Adorno, the essay analyzes some thematic parallels between political and religious populism regarding the view on gender and feminism. In both certain traditional Catholic circles and right-wing political parties, an explicit hostility toward gender can be observed. In this article, this resentment is discussed in three aspects: the defense of a traditional image of the family, the instrumentalization of women’s rights against “the Islam”, and, generally, the propaganda of anti-feminism or anti-genderism. Moreover, the text considers the fact that in spite of anti-feminist positions, many women are part of these movements, sometimes even as leaders. The text will prove that this is only a superficial contradiction. The right-wing populist groups—both secular and religious—promise to reduce the potential threat to modern societies while “preserving” the traditional order. The coalitions between them run along the lines of the “values” represented, including anti-feminism and anti-genderism. The danger that these “alliances” pose to a liberal society must not be underestimated by the religious and secular actors who value and protect ambiguity and diversity.

A Comparative Postcolonial Analysis: The Conscript (1950) and The Glass Palace (2000)

The present comparative postcolonial analysis aims at drawing thematic parallels between two postcolonial novels: The Conscript (1950) by Ghebresus Hailu (Eritrea, Horn of Africa) and The Glass Palace (2000) by Amitav Ghosh, India. Though the novels are productions of two different geographical space, cultural and colonial experience, they have stark similarities. In The Conscript Hailu paints a picture of his colonized country men under Italian masters similarly, Ghosh in The Glass Palace attempts to delineate the life of Indo-Burmese people under the British Empire. Although a lot of research has been carried out on Anglophone and Francophone colonial literature, there hardly exists any analysis of Italian colonial literature. In this regard comparative analysis of The Conscript (a novel written in Tigrigna, a language spoken in Eritrea, East Africa and translated into English by Ghirmay Negash, a professor in Ohio University) and The Glass Palace, I believe will provide additional knowledge concerning Italian colonial experience visà-vis wide existing Anglophone and Francophone literature. The thematic commonalities drawn between The Conscript and The Glass Palace in this paper are native role and complicity, racism and interiorization, dislocation, colonial order, traumatic effects of colonialism in the colonized, decolonization strategies, and anticolonial consciousness. I will explore and analyze the relations of the two novels based on afore mentioned aspects. Then following the discussion I will conclude by revisiting some general points concerning the texts. This paper mainly frames its arguments on theoretical frameworks of Rene Wellek, Robert Young, Edward Said, and Franz Fanon about notions of comparative literature, resistance, and representation, exploitation, and interiorization.

Soqotrano-Biblica

Abstract The article investigates the thematic and stylistic parallelism between Old Testament books (primarily, but not exclusively, Proverbs, Ecclesiastes, and the Song of Songs) and the oral poetry in the Modern South Arabian language Soqotri. Striking similarities between the two corpora, noted already by the father of Soqotri studies in the West, David Heinrich Müller, are investigated in depth on the basis of the author’s fieldwork experience on the island.

The Irishman dir. by Martin Scorsese

Reviewed by: The Irishman dir. by Martin Scorsese Christopher B. Barnett The Irishman, Directed by Martin Scorsese . New York: TriBeCa Productions, 2019. 210 minutes. The Irishman , Directed by Martin Scorsese. New York: TriBeCa Productions, 2019. 210 minutes. In a recent essay, Gerard Loughlin argues that Martin Scorsese's Bringing Out the Dead (1999) exemplifies the filmmaker's tendency to revisit and to rework previous concepts. Just as earlier Scorsese films—especially Taxi Driver (1976) and The Last Temptation of Christ (1988)—centered on a "lonely man, obsessed with the suffering of both himself and others," so does Bringing Out the Dead feature the trials and tribulations of Frank Pierce, a paramedic working the graveyard shift in Hell's Kitchen, Manhattan. 1 In fact, as Loughlin explains, the cinematic and thematic parallels are so striking that Bringing Out the [End Page 58] Dead is best thought of as "a palimpsest, a text written upon another, partly erased text, where some of the first still shows through." 2 In this way, the film engages both past and present. It both remembers and reveals. Thus, Loughlin quotes the English essayist Thomas De Quincey (1785–1859), who first developed the concept of the palimpsest: "Everlasting layers of ideas, images, feelings, have fallen upon your brain softly as light. Each succession has seemed to bury all that went before. And yet in reality not one has been extinguished." 3 One might take a similar approach to Scorsese's latest release, The Irishman (2019). On the surface, it is a new film, based on Charles Brandt's book, I Heard You Paint Houses: Frank "The Irishman" Sheeran and Closing the Case on Jimmy Hoffa (2004). A Delawarebased attorney, Brandt came to befriend Frank Sheeran, an aging mobster with links to the Bufalino crime family as well as to the International Brotherhood of Teamsters. Prior to his death in December 2003, Sheeran confessed a number of crimes to Brandt, including the alleged murder of Teamsters President Jimmy Hoffa in 1975. Brandt's subsequent tell-all eventually made its way to Scorsese, who was already revered for gangster films such as Mean Streets (1973), Goodfellas (1990), and Casino (1995). After a number of logistical snags, Netflix agreed to finance the film in 2017, and shooting began later that year. Retitled The Irishman, and featuring longtime Scorsese collaborator Robert De Niro as the title character, the film premiered in September 2019 to wide critical acclaim. So, if The Irishman is a palimpsest whose surface can be abraded to reveal deposits underneath, what exactly do we find? A number of suggestions might be tendered here, though the faded yet still recognizable textures of Goodfellas are most clear. Not only are both films narrated by midlevel mafiosos—Henry Hill (Ray Liotta) in Goodfellas, Frank Sheeran in The Irishman—but their stories trace the rise and fall of their respective criminal families. Moreover, The Irishman reprises some of Goodfellas' most distinctive cinematic techniques. Scorsese announces this intention with The Irishman's opening scene. Backed by a vintage doo-wop hit ("In the Still of the Night" by The Five Satins), a Steadicam tracking shot slowly winds its way through the Pennsylvania nursing home where Frank is living out his final years. Nurses move in and out of the picture; residents sit quietly, drinking coffee or playing cards; a statue of Thérèse of Lisieux [End Page 59] looks on with detached serenity. This is a quiet place, where the past is recollected and the future all too certain. In and of itself, the nursing home scene is a striking preamble to The Irishman, but it is also a facsimile of arguably the most famous sequence in Scorsese's oeuvre. Relatively early in Goodfellas, Henry takes his date Karen (Lorraine Bracco) to the Copacabana nightclub in Manhattan. A Steadicam tracking shot follows the couple as they make a VIP entrance through the club's winding corridors and kitchen. Scorsese sets the scene to "Then He Kissed Me" by The Crystals—a song that conveys Karen's attraction to Henry's influence and standing. Here, it seems, is the good life, where the past is irrelevant and the future whatever one wants it...

Жанровая система русских сатирических журналов XVIII века

Satirical magazines are a unique form of the XVIII century literature. Standing outside the dominant in the XVIII century normative poetics, they share its didactic intent. They develop a specific genre system consisting of short literary forms. The research aims to create a structural model of this system. It involves multiple factors: the literary forms it includes are defined on several irredundant criteria. Its main genres are the editor’s essay, the reader’s letter, and parodies. The editor as the subject of an essay is a fictional character. Readers’ letters, whoever their real authors might be, coexist with editor’s essays in a common fictional space. Such genres as newspaper articles, recipes, dictionaries are objects of parody. A character sketch is the basic element of the system. Compressed or extended, it can appear as a description or a narrative. A character sketch as well as other genre modes may take the shape of essays, letters, parodies. Many short forms show a tendency towards cyclization. The magazine as a whole is a literary unity held together with the help of several mechanisms: the editor’s and readers’ personae, formal and thematic parallels between texts, sometimes a common constructive principle or even a single plot. The diversity of simultaneous structuring principles makes the genre system of the satirical magazines complex and flexible, so as to vary aesthetic impressions for the sake of a common didactic goal.

МОТИВ ПОТОПЕЛЬНИКА В ХУДОЖНІХ ТВОРАХ ДОБИ FIN DE SIECLE

Мета статті – проаналізувати особливості вираження мотиву потопельника в художніх творах доби fin de siècle. Методи дослідження складаються з мистецтвознавчих та загальнонаукових. Застосовано компаративний метод для виявлення образно-тематичних паралелей у творах митців різних країн Європи на межі XIX–XX ст.; історико-культурний – для визначення міфопоетичних джерел інспірацій тем та образів; семіотичний метод – для розкриття символіки творів. Наукова новизна полягає у з’ясуванні специфіки художньо-образних рішень жанрового мотиву потопельника та виявленні образно-тематичних паралелей у творах митців країн Європи доби fin de siècle. Висновки. Мотив потопельників у мистецтві fin de siècle сформувався на тлі занепадницьких настроїв, які панували в Європі того часу. Атмосфера розгубленості й розчарування, спричинена руйнуванням сталих світоглядних настанов, викликала в митців загострену меланхолію, що втілювалась на їхніх полотнах у вигляді естетизації смерті як порятунку від буденності світу. Мотив потопельників у мистецтві зазначеного періоду має три ключові іконографічні ізводи: образ Офелії – героїні шекспірівської драми «Гамлет»; образ Леді Шалотт з однойменної поеми А. Теннісона; образ Елейн з Астолату – героїні роману Т. Мелорі «Смерть Артура». Приналежність названих образів до англійської культури свідчить про особливий вплив на мистецтво різних країн доби fin de siècle творчості художників-прерафаелітів. Зіставлення робіт прерафаеліта Дж. Е. Мілле, американського майстра Т. Е. Розенталя та українського художника В. Котарбінського засвідчило, що образ потопельниці з картини останнього знаходиться на межі двох іконографічних ізводів, а саме: Офелії та Елейн з Астолату. Виокремлення сталих іконографічних мотивів у мистецтві «кінця століття», зокрема декадансу й символізму, дало змогу виявити певні взаємозв’язки в мистецтві України, Англії, Франції, Бельгії, Німеччини та США, раніше мало вивчені. Перспективи подальших досліджень пов’язуються з декадансом і символізмом в образотворчому мистецтві України та Європи.

A close fitt: reading Beowulf fitt II with the Andreas-poet

AbstractConnections between Andreas and Beowulf have been the subject of much scholarly discussion. This article contributes to this discussion by arguing that the account of the Mermedonians’ discovery of and response to the loss of their prisoners in Andreas fitt X, which corresponds to chapters 22–3 of the poet’s putative Latin source, has been deliberately recast in ways intended to recall the account in fitt II of Beowulf of Grendel’s first attack on Heorot and the reactions of the Danish community. The connection argued for here is based not on verbal correspondences, but on embedded structural and thematic parallels. The Andreas-poet emerges as a careful and sophisticated reader, notable for their specifically literate and textual engagement with Beowulf. This observation has implications not only for our appreciation of the Andreas-poet’s art, but also for the transmission of Beowulf and for our understanding of Old English poetic practices more generally.

Metal and Stone: An Analogy between the Story of David and Goliath (1 Sam 17) and the Story of Nebuchadnezzar’s Dream (Dan 2)

Abstract The image that appears to Nebuchadnezzar in a dream, in which a colossal statue made from different metals is struck to the ground by a stone (Dan 2), creates an affinity between this story and that of David and Goliath (1 Sam 17). These two stories convey an identical message through the same symbols. While the stone signifies the divine, the man-made metal symbolizes human might. Though this is a broad analogy, which includes both thematic and linguistic parallels, it has not yet received sufficient scholarly attention. This paper unravels the analogy, shedding new light on Daniel 2, its meaning and its purpose.

Exeter Book Riddle 95: ‘The Sun’, a New Solution

Abstract Elusive and fraught with textual difficulties, Riddle 95, the ‘last’ of the Old English verse riddles preserved in the tenth-century Exeter Book, has long baffled modern readers as one of a handful of thorny items in the collection that have so far defied solution. ‘Book’ is the answer that has found most acceptance with critics in the past, yet the speaking subject of Riddle 95 is unlike anything described in those items of the collection that actually deal with writing and the tools of the monastic scriptorium. Rather, the linguistic and thematic parallels between Riddle 95 on the one hand, and the cosmological riddles and poems in the Exeter Book on the other, strongly suggest that the subject of Riddle 95 is the sun, a frequent topic of early medieval enigmatography. The poem obliquely relates how the rising sun installs itself in the sky to shed its welcome light upon the earth before it sets and vanishes from sight, completing its daily orbit along unknown paths. The main clues helping to secure the solution ‘sun’ are based upon what was known in Anglo-Saxon England about the solar course and the planetary motions, especially from the astronomical writings of Isidore of Seville and Bede. Further evidence is provided by several analogues in the Anglo-Latin riddle tradition, including the Enigmata of Aldhelm and his followers.