Young Hero Research Articles

The hero's existential dilemma in the story "First Love": the Hamletian question

The article is devoted to the existential dilemma of the hero in I. S. Turgenev's story "First Love", which goes back to the eternal Hamletian question. The traumatic experience of the hero of the story is analyzed, in the image of which it is possible to find moral and psychological traits peculiar to Hamlet, transferred in the context of Russian cultural tradition. The object of the study is the political and ethical dilemma of the hero in the story "First Love". The subject of the study is the unusual love experience of the protagonist of the story and the social and family relations connected with it. The main purpose of the work is to analyze Shakespearean reminiscences in the story, to identify the Hamletian question behind the hero's tragic love. The following research methods were applied in the work: the method of holistic analysis of the artwork, descriptive, comparative, as well as the method of linguocultural interpretation. The research shows that I. S. Turgenev presents the story of the young hero's first love as a socio-political allegory, an allusion to the existential dilemma of the young generation at a critical period. It is the inability to resolve this dilemma that leads the hero of the story to a tragic finale, which should be seen as a warning from the writer. The results described in this article will contribute to a deeper understanding of the late work of I. S. Turgenev, as well as can be introduced as a scientific material in the educational process at the Faculty of Philology. The scientific novelty of the study consists in the fact that the paper is the first to study in detail the Hamlet question in Turgenev's story, which is usually paid little attention to, and to discover the reason for the formation of the Russian Hamlet from the double dilemma (political and ethical) of the protagonist.

Вещный мир в драматургической рецепции В. С. Розова

The dramaturgy of the Soviet period has been sufficiently studied both from the point of view of the specifics of the artistic system and in terms of its ideological and thematic content. The work of V. S. Rozov, who updated the traditional genre of Russian realistic psychological drama, reflects the main problems of the contemporary era of the author and his person, who is in the dialectical process of searching for his own moral principles and individual “truth.” Drama and poetry are discovered in everyday life, and the everyday life of human existence is understood as an integral component of its existence. Everyday life in Rozov’s drama is not an end in itself, but the soil on which the poetry of life grows; it acquires objective and material contours, becomes a tuning fork or a test for all the characters ― those who choose the comfort of bourgeois life or who resolutely rebel against acquisitiveness and the accumulation of things. In the plays “Good Hour!”, “In Search of Joy”, “The Wood Grouse’s Nest”, the characters, coming into conflict with public consciousness, strive to isolate themselves from everyday well-being and the dominance of “materialism”. The purpose of this article is to study the forms and content of rejection of the material world in the dramatic reception of V. S. Rozov. Results. Materialism as the dominance of material goods, philistinism in a crushing world is not organically accepted by Rozov’s young heroes, who reject them with all their nature and consciousness.

The image of the national landscape in the short novel “Pilgrimage” by Ivan Shmelev

The purpose of the study is to examine the peculiarities of the artistic embodiment of the national landscape image in the short novel "Pilgrimage" by Ivan Sergeevich Shmelev, a writer of the first half of the 20th century. The relevance of the study is determined by the apparently growing interest of modern literary and scientific circles in the rich creative heritage of the writer, the desire to reveal the originality, uniqueness and singularity of his talent, the versatility of the artistic world. The research methods used were descriptive, interpretative and biographical. The results of the literary analysis show that the image of the national landscape presented in the "Pilgrimage" by I. S. Shmelev has a two-dimensional structure, combining realistic and ideal levels. This is explained by the peculiarity of children's view of the world, as the image of nature is given through the prism of the child protagonist’s point of view. The treatment of the theme of the native landscape is based on the motif of beauty, updated in the setting of the young hero's admiration for the uniqueness, charm and elegance of the surrounding world. The author's discourse, included in the text, brings to the narrative features of idealisation, associated with the motif of memories of a bygone childhood and a homeland lost in social cataclysms. The image of Russian nature in "Pilgrimage" develops the motifs of silence, peace, joy, joyful admiration of nature, wonder, fairy tale and spirituality. The leitmotifs in the poetics of the work are the landscape images of sun, light, dazzling brilliance, which converge with the motif of joy and the image of "golden" childhood. In "Pilgrimage", the dominant colour is the rose-gold, white and blue scale, which shades the idea of the sacredness of God's world and echoes nostalgic motifs. The symbolic images of Easter and the motif of Easter joy introduce the theme of eternal life, salvation and resurrection into the text.

Художественно-документальные повести Г. А. Ходырева в серии «Наши герои» книгоиздания Удмуртии

The paper considers the works included in the series of military-patriotic books for young people “Our Heroes”. Founded in 1968, this series consists of books by Udmurt writers about fellow Udmurt heroes, the Great Patriotic War veterans. The documentary fiction novellas of the national writer of the republic G. A. Khodyrev “The Eagle: The Tale of Pyotr Babkin” (1969; co-author V. V. Golubev) and “Soldier Spyridon Strelkov” (1976) were among the most prominent books in the series. The aim of the study is to identify the ways of reality reflection in the Udmurt documentary fiction prose for children and adolescents that uses the human experience of war heroes as the material and document as the medium as exemplified in the creative work of Herman Alekseevich Khodyrev (1932-1995). Scientific novelty lies in the following: it is the first time that based on the material of G. A. Khodyrev’s novellas, the role and place of the documentary-factual principle in Udmurt prose for children and adolescents were examined, the features of the aesthetic assimilation of the fact as the most important part of the poetics of a work were determined. The results of the study suggest that in the Udmurt children’s literature of the late 1960s – mid-1980s, documentary fiction works appear in which the image of a real hero is recreated through the use of the authentic facts and human fates of the Great Patriotic War period. G. A. Khodyrev’s novellas published in the series “Our Heroes” are characterised by the fact that the author managed to show the synthesis of universal national heroism and the manifestation of the individual human spirit in war. In his prose, such qualities of the “series” as a clear image of a real young hero’s formation against the background of specific historical events, the appeal to children’s perception through the memories technique, the lyrical descriptions of the nature of the native land, the author’s focus on activating the educational role of literature, the transformation of dry “newspaper” language into vivid, imaginative artistic speech are manifested.

The Role of Wonder in Creating Identity

Although the Bahāʾī Faith was born in a Shīʿī Islamic cultural milieu it has clearly gone beyond the “gravitational pull” of Islām and assumed a distinctive social, scriptural, and religious identity. Bahāʾīs revere Islām as “the source and background of their Faith” and consider the Qurʾān the only authentic, uncorrupted scripture apart from their own. However, Bahāʾī teachings insist that this new religious movement is more than a sectarian development. It represents a distinctive—if you will “autonomous”—religious dispensation along the lines of the development of Christianity out of its original Jewish setting. This assertion and trajectory is clear in the very earliest scriptures of the new religion revealed by the Bāb and runs through subsequent Bahāʾī writings. A key term, badīʿ, used dozens of times by the Bāb in his annunciatory composition, the Qayyūm al-Asmāʾ, denotes this sense of the “wondrously new”, something that is simultaneously ancient and unprecedented. It is suggested here that this term is a central and pivotal idea in the Bāb’s vision and that it had a major role in generating the imaginative and kerygmatic cultural energy that would eventually result in the above-mentioned escape from an Islamic orbit. The word badīʿ eventually acquires a life of its own in Bahāʾī thought and practice. It is the word used to designate the new calendar whose current year is 180 B.E., “Bahāʾī Era” or “Badīʿ Era”. It is used in the title of one of Bahāʾuʾllāh’s major books, the Kitāb-i Badīʿ. It is given as a name for one of the young heroes of the Bahāʾī Faith who was tortured and killed because he dared to attempt to communicate directly with the Shah of Iran to testify to the truth of Bahāʾuʾllāh’s mission. It is a word encountered frequently throughout the Bahāʾī writings and translated various ways. It functions as an emblem and symbol of the Bahāʾī ethos and message. The main focus here is the Qayyūm al-Asmāʾ, the Bāb’s proclamatory summons, disguised as a Qurʾān commentary, in which he claimed to be in immediate and intimate contact with the hidden Imām and, therefore, the centre of all authority (walāya) whether political or spiritual. The clarion message of the Qayyūm al-Asmāʾ, in which the much repeated Arabic word badīʿ is a powerful and vibrant symbol of “the new”, is that a profound and radical covenantal renewal—as distinct from “revivification/tajdīd”—is at hand, a renewal that would evolve into a distinctive Bahāʾī communal identity that is simultaneously–and therefore wondrously–new and primordial.

Analogical Perspectives on the Comparison between Vǫlundr and Daedalus

Analogical Perspectives on the Comparison between Vǫlundr and Daedalus

The waning of the young sincere hero in Averbakh and Maslennikov’s The Private Life of Kuziaev Valentin

ABSTRACT The article discusses the 1967 film The Private Life of Kuziaev Valentin, directed by Il’ia Averbakh and Igor’ Maslennikov. The film belongs to the Thaw period of Soviet filmmaking, defined by cineastes’ pledge to sincerity. This idea aligned with the cultural transformations launched by the Khrushchev administration at the end of the 1950s, which encompassed radical changes in the attitudes and behaviour of the Soviet youth. Sensitive to the current political climate, Soviet filmmakers populated their narratives with the new, honest and self-reflective young heroes. Our detailed analysis of The Private Life of Kuziaev Valentin demonstrates how it critically interrogates and destabilises the popular sincerity discourse of the time. Engaging in a complex dialogue with Marlen Khutsiev’s iconic 1962 production Ilyich’s Gate, the film also foreshadows the imminent appearance, on the Soviet screen, of a radically different character. In the 1970s, the introspective flaneurs of the Thaw are slowly replaced by their cynical and shallow, two-dimensional copies. Remarkably, this evolution of the contemporary protagonist coincided with similar tendencies in French and British cinema.

Screening Russian youth: An introduction

ABSTRACT This introduction outlines the scope of the cluster presented in this issue (17.1) of Studies in Russian and Soviet Cinema on the representation of youth on late-Soviet and Russian screens. It connects the arguments made in the three contributions by Irina Souch, Vadim Mikhailin, and Galina Belyaeva; by Laura Todd; and by Emily Schuckman Matthews, concerning the emergence on screen of the young hero from the 1960s as a representative of sincerity, who contrasts with the older generation; the growing non-conformism and aggression of the younger generation in the late 1970s and 1980s; and the erupting violence in late-Soviet and post-Soviet cinema.

Reading Anna Frajlich's Latest Volume of Poetry

Reading Anna Frajlich's Latest Volume of Poetry

LEFTIST IDEAS IN THE INTERPRETATION OF THE YOUTH THEATRE: THE 1940s–1950s

When discussing the influence of leftist ideas on the Latvian stage, one of the main examples to begin with is the creation and activities of The Children’s and Youth Theatre from the 1940s to the early 1960s. During this period, this theatre can be called an active interpreter of leftist ideas for the audience of children and teenagers. The beginnings of The Children’s and Youth Theatre can also be linked with Anna Lāce. Although she did not actually participate in the organisation of the theatre as she was under arrest in Russia at the time, her daughter Dagmāra Lāce (later – Ķimele) had come to Riga after her mother’s arrest. Her father Jūlijs Lācis, who was the People’s Commissioner for Education and Culture in 1940, helped Dagmāra to return to Latvia. She may have told her father about this theatre and its effect on the aesthetic upbringing of children and teenagers. The overall task and objective of the newly founded Children’s and Youth Theatre was communist education of young people. One of the main demands of communist upbringing was to use the theatre as a portrait of a young hero whom the young audiences – the communist builders would aspire to emulate, who would captivate them with a higher goal, an ideal, and a dream. A search for the young hero – the communist builder continued in the theatre during the first decade after World War II. During this period The Youth Theatre did its best to strictly follow the instructions of Communist Party ideologists.

The imaginary space of M. Tsvetaeva’s poem ‘In the Hall’ [‘V zale’] and the reader’s strategy

The article deals with the unique viewpoint of the reader who, when reading Tsvetaeva’s ‘In the Hall’ [‘V zale’], discovers that, along with the space of the artistic world inhabited by the poem’s lyrical heroes, the poem offers an extra level — one produced by the heroes’ imagination. The children in the poem allow the reader to catch a glimpse of their imaginary world. The world of a child’s play exists in the minds of the depicted heroes, meaning a doubling of the artistic reality. It is for this reason that the reader becomes aware of a double viewpoint — one of a grown-up observer and the other belonging to the young heroes, and is exposed both to the visually perceptible embodiment of the world created by the poet as well as to the space hidden inside of it (visible only to the children). The structure of the depicted hall is transformed through the introduction of the space of a hero’s imaginary world. The game described in the poem is, therefore, taking place not only in the reader’s presence, but with the reader’s participation, meaning that self-reflection of the lyrical ‘us’ achieves its development, with the reader sharing in the experience.

«Карнавальная ночь» как новый тип послесталинской комедии

The debut feature film by Eldar Ryazanov Carnival Night (1956) became one of the landmark events of the first period of the Khrushchev Thaw. But for the society it also marked its real beginning in cinema, showing on the screen the degree of freedom of young heroes and their struggle – albeit within the framework of a genre film. There were both the representatives of the previous generation and at the same time the representatives of the authorities. Studying the history of the film creation simultaneously shows these two interrelated components of the idea and its reliazation: a radical expansion of the showing the change of generations and political paradigms on the screen – and progress of the comedy genre. The creators of the film frankly spoke about the need to update the comedy genre and associated this need with a changing era. The transcripts of the discussions also show the uncertainty that these changes in the society and in the film industry had really come to stay. So the cautions of film authorities and fellow filmmakers found their parallel on the screen and became the “second layer” of the film’s action. The plot of Carnival Night includes resistance to censorship. Thus the screenwriters Boris Laskin and Vladimir Polyakov and the director Eldar Ryazanov introduced overtones of their own confrontation with censorship into the film. The archival materials have made it possible to confirm. The article features excerpts from different versions of the screenplay and the shooting script of Carnival Night. They are from the scenes which were not filmed or were significantly changed. The article also includes material from the preserved transcripts of the production’s discussions at the meetings of the Artistic Council of the Mosfilm studio (speeches by Ivan Pyryev, N. Orlov and others). The publication establishes the relationship between the demands of the Soviet film distribution (about which the journal Iskusstvo Kino (The Art of Cinema) wrote at the time), and the motivation of the leadership of the country’s largest film studio.

The Path of Soviet Cinema to Great Changes and Freedom from the Period of “Stagnation” to “Perestroika”

The transitional period in Soviet cinematography coincides with the historical period called “perestroika”. Children become heroes of the “stagnation” period. However, they are different from the “archetype of the young hero” that is shown in the student films of Tarkovsky and Konchalovsky. The main themes of the movies are the problems of the youth. The filmmakers analyze such themes as education, conflict between a child and adult, and common mistakes of different generations. They treat these problems as a result of a static state of society. The youth become a powerful force that revives the concepts of “change” and “freedom”.

How Neptolemus almost became a ξυνεργάτης

In his tragedy Philoctetes, Sophocles has firmly tied the fundamental conflicts to the characters, more precisely to the triangular relationship Ulysses - Neoptolemus - Philoctetes. In the prologue, he sets up the relationship of the older, designing Ulysses to the young, executive Neoptolemos as a problematic one through ambivalent formulations. These traces laid out by the poet are crucial for the interpretation of the entire tragedy. The connotation of the term ξυνεργάτης (v. 93), with which Neoptolemos describes the role Odysseus has intended for him, has been rather neglected so far by scholars but appears to be of particular significance: Parallels in Euripides show that its divergent meanings ‘helper’ and ‘accomplice’ reflect the general conflict of the young hero in nuce.

Stage Performance and Musical Analysis of Haacaaluu Hundeessaa Works by using Sentiment Analysis Techniques

This research is initiated to analysis the stage performance and musical analysis of Haacaaluu Hundeessaa works on Afaan oromoo reviews text collected from social Medias by applying the concept of sentiment analysis techniques. The data (reviews) were collected manually from social media on Haacaaluu Hundeessaa musical works. Haacaaluu Hundeessaa is Oromo singer, songwriter, civil rights activist and his being a voice his people. He is the most famous young singer, hero and icon of Oromo musician. From his musical works Sanyii Mootii(Race of the King), Waa'ee Keenyaa(Our Plight), Maalan Jira(What existence is mine), JIRTUU? are the most popular known in Oromo peoples as well as nation and nationality of Ethiopia. From Hacaaluu musical works, the researcher considered reviews (opinions) afaan oromoo text data on his single sang “JIRTUU?” to analysis stage performance of Haacaaluu Hundeessaa’s. The researcher inspires to use this single sang because; reviews (comments) are easier to access, available on you tube channel, extensive in size relatively from other his songs from social media. Additionally this song was broadcast live by Oromia Broadcasting Network and other Medias on different stage. Opinion lexicon approach with contextual valence shifter is used for analyzing opinions (comments) given on stage performance of Haacaaluu Hundeessaa works. Totally 18,687 reviews opinions or sentences were collected for experimentations to analysis stage performance and musical works of Haacaaluu Hundeessaa. Accordingly our result indicates around 99.52 percents peoples likes the stage performance and musical works of Hacaaluu Hundeessaa. From the results researcher observed Haacaaluu Hundeessaa has good performer with sing emotional and physically when he sing on the stages. In future works, further research needs to study others musical works of Hacaaluu Hundeessaa.

Воинская добродетель богатырей в Калмыцких версиях героического эпоса Джангар

The article defines the features of military virtue, which is given to the heroes from the Kalmyk version of the heroic Epic of Jangar. The main hero of the Epic is the hero Jangar, who rallied the heroes around himself and created the country of Bumba. All the songs of the Epic are associated with Jangar. The hero Jangar personifies a wise ruler and a brave warrior, who instructs his heroes and inspires them to exploits. Jangar and his heroes are not just brave warriors, but also bearers of unique characters and skills. Their individuality is emphasized in the descriptions of their actions, weapons and war horses. In the epic there are also young heroes, who following the example of the heroes, defend the country of Bumba from enemies. Since the Kalmyk “Jangar” is a composite work, the article compares songs belonging to the repertoires of different jangarchis: twelve songs translated by S. Lipkin (which includes ten songs from the repertoire of Eelyan Ovla), six songs from the repertoire of Mukeben Basangov translated by N. Bitkeev and three songs of the Maloderbetovsky version translated by A. Kichikov.

Exploration of the Lives of Women with ACOAs Living with an Alcoholic Spouse: A Life History Theory Approach

Purpose: The purpose of this study was to identify how women who were adult children of alcoholics and spouses of alcoholics had grown up in difficult situations and found the meaning of life.Methods: This study used a life history research method and data were collected from three participants who are adult children of alcoholics and spouses of alcoholics. In-depth interviews with each participant were conducted three times from September to October 2020.Results: In this study, ‘realm of life’ includes taking care of the family like a young hero, difficulty in express one’s feelings and desire, facing the problems of the family at stake. ‘Turning point’ meeting a role model overcoming addiction problems, sharing one’s story in the Therapeutic Community, self-awareness to live independently not as a victim. ‘Adaptation’ includes recognizing and expressing one’s thoughts and feelings, trying to separate from the family psychologically and spatially, reinterpretation of one’s life and discovery of the meaning of life.Conclusion: Their meaning of life was to love and respect themselves, make responsible choices in their circumstances, break the inheritance of addiction and had a healthy family life. Therefore, it is necessary to provide an existential meaning therapy program that helps them find the meaning of life and recover to their original self.

The View From Here: Contemporary Perspectives from Senegal

The View From Here: Contemporary Perspectives from Senegal

Childhood and nature in the Iranian post-war film Willow and Wind (Talebi 1999)

Mohammad-Ali Talebi’s forgotten masterpiece Beed-o Baad (Willow and Wind) () is an Iranian children film written by Abbas Kiarostami, that pays tribute to the children of the post-war generation. As in other children’s films of the period, the young hero has a mission, which he stubbornly pursues. Set in a village in Northern Iran, the story follows the boy’s efforts to repair a broken glass during very stormy weather. This article will examine the visual motives of Willow and Wind (a boy climbing a hill, single trees, wind, rain) paying particular attention to the interaction with nature. The tree and the wind alluded to in the title underline the struggle and determination of Iranian children. In line with the children’s films produced by the Center for the Intellectual Development of Children and Young Adults (CIDCYA, aka Kanoon), it applauds the willpower of a generation with enormous responsibilities, while placing his protagonist as a role model for audiences of all ages. However, by rejecting the happy ending, the film opposes the predominant narrative model of Iranian educational films of the 1980s and 1990s while criticizing adults’ treatment of boys in post-revolutionary Iran. In this moral tale, Talebi stresses the dignity and resourcefulness of rural Iran but condemns the solitude of children, and the distance between the worlds of adults and children setting a precedent for future Iranian children’s films.

An application of gothic elements in rudyard kipling's “my own true ghost story”

This paper aims to find the Gothic elements in Rudyard Kipling, selected short story. After the first reading of the short story "My own true ghost story" shows a lot of gothic elements. The analysis of this Gothic story will show how young man haunted by Dak Bungalow because of the game room, doolie bearers walking sound and dark winter night with rain-affected to the young hero of this story. In all Victorian gothic stories and novels, young protagonist characters are only suffered in the example of H G Wells story The Red Room hero suffered by Shadow and long corridors, Wuthering Heights by a young ghost with Dark Romance, haunted rooms, windows, churchyards, graveyards, vault these are common places. But in Rudyard Kipling's story My Own True Ghost stories Young British Protagonist or Narrator of this story haunted by the Bungalow take takers Kanshamas, who is old as the building, they told old stories about a British officer who visited, stayed this Dak Bungalow, and how they lived now also as a ghost and he tried to see this but that particular he fell from the steps when he opens his eye, Khansams is sitting beside him and he thought this is unanswered place.