Search

This research aims to describe ecocriticism in the story Legenda Danau Kembar by Gita Rahmi and the story Legenda Bukit Kelam by Umu Fatimiah in the children's book 78 Legenda Ternama Indonesia. This research is qualitative research with descriptive methods. The approach used in this research is literary ecocriticism. The data in this research are written data in the form of words and sentences in the story Legenda Danau Kembar by Gita Rahmi and the story Legenda Bukit Kelam by Umu Fatimiah. The data collection technique used in this research is the note-reading technique. The results of the research show elements of natural ecology and cultural ecology in the story Legenda Danau Kembar by Gita Rahmi and the story Legenda Bukit Kelam by Umu Fatimiah. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Hero and Leandro is one of the few fictional stories of the Greco-Latin tradition that, more than a myth, turns out to be a legend: a narrative that, by having concrete elements of time and space, is more credible for its readers or audience. than other types of stories. Although several Greek and Latin authors alluded to it, only three works properly addressed it in ancient times: in Latin, two of Ovid's Heroidas (XVIII y XIX); in Greek, an epilio written by Museo on the limits of Antiquity and the Byzantine Era. We will have to wait until the Renaissance for another great poet, Christopher Marlowe, undoubtedly inspired by the two of them, to undertake a new formal and original treatment of history. This article explores some textual features and problems of these three versions. [ABSTRACT FROM AUTHOR]

The LEGEND collaboration has been developing a 76Ge-based double-beta decay experimental program where precise radiopurity measurements of ultraclean materials are crucial. Ultralow concentrations of thorium and uranium, the main contributors to the detector background via their decay products, can be determined by inductively coupled plasma mass spectrometry (ICPMS) and accelerator mass spectrometry (AMS). Here we shall present recent developments in thorium and uranium mass spectrometry methods, together with basics of separation chemistry applied to process different samples. The new possibilities to measure 232Th and 238U by ICPMS and AMS at the Comenius University in Bratislava are discussed as well. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As a stereotyped image, the legend of King Charles IX shooting his people from the Louvre during St Bartholomew’s night spread through historical and literary sources, which accounted for the event right from the end of the sixteenth century, for instance in Agrippa d’Aubigné’s and Brantôme’s works. If Mézeray or Bossuet echoed this topic, its broadest dissemination was reached during the 18th and 19th centuries, through Voltaire and other essays or dramatic plays satirizing despotism and/or fanaticism, especially by the French Revolution. All the while becoming a widespread and iconic representation in the post-revolutionary French public sphere, from Mérimée to Zola, from Balzac or Michelet to Dumas and Flaubert, the sifted through legend became less effective as the Monarchy’s memory was fading away.Focusing on historical sources along with literary representations (through poetry, novel & theatre) in the French canon, this paper sketches the archeology of this polemical and romantic legend until the end of the 19th century, a time when the Third Republic was grounded and History as science split away from Literature. I intend to analyze the stakes of this “balcony scene” and Charles IX’s many-facetted portrait, as an “unwilling foe” or a wicked killer, which attacks the monarchical power stained with the People’s blood.

Understanding the context of products of folklore is of great importance for conducting accurate studies on these products. This is because a folklore product can have different names and functions in different contexts. Therefore, to obtain reliable results in any study based on these products, it is essential to gather information about the context in which the products were created. For this reason, the significance of the contexts of folklore products has been emphasized in previous studies. This study, however, will discuss the changes and transformations of a narrative in different contexts. The study population includes a narrative cited as a legend in Diyarbakır and an anecdote in Sivas. Both texts recount the tale of villagers who are bothered by the sun in their eyes while traveling to the city center in the morning and voice their complaints to the rulers. This study, which was conducted on the noteworthy fact that the same event is presented as a legend in one context and as an anecdote in another, compares the legend and anecdote texts in terms of the event, people, time, place, narrator, context, and function. The result of the comparison revealed no differences in structural features, such as the context of narrative formation, subject, event, persons, time, place, and narrator. However, it was concluded that the narratives were told under two different genres, legend, and anecdote, due to the change in the functions of the narrative in the contexts in which they were retold. [ABSTRACT FROM AUTHOR]

Góngora's parody "Arrojóse el mancebito" (1589) is one of the foundational poems in the context of Gongora's corpus as it may have inspired a new aesthetical vein that would culminate with his Fable of Piramo and Tisbe. "Arrójose" is an iconoclastic proposal in that it opens the literary possibility of a parodic reinterpretation of the classical myth. With this poem, Góngora takes delight in the grotesque transformation of the tragic hero, Leandro, into a ridiculous character. This contribution delves into the character of Leandro of 1589 and highlights the relevance of this character in Góngora's literary work. Specifically, this study studies the characterization of Leandro in this romance and defends the idea of how the parody of this mancebito inspires the genesis of a new and transgressive male role model. Góngora's Leandro creates a new male character that encapsulates his parodic worldview of the epic and mythological hero. [ABSTRACT FROM AUTHOR]

According to the different emphasis of writing in different historical periods, the process of Yellow Crane Tower winning fame can be roughly divided into three stages: the early stage, the prosperous stage and the late stage. The early period is from the Liu Song Dynasty and the Southern Qi Dynasty to the Tang Dynasty. During this period, the Yellow Crane Tower was only seen in mystery novels, while after the Liang and Chen Dynasties, the Yellow Crane Tower began to appear in official history, surpassing local fairy tales. However, the main value of the Yellow Crane Tower in this period was still reflected in military functions. In the prosperous period, namely, the Tang and Song Dynasties, the literary function of the Yellow Crane Tower was gradually explored, which started the prosperous period of writing poems and stories and legends of the Yellow Crane Tower. The Yuan, Ming and Qing dynasties are the late period. Besides the continuous accumulation of poetry and prose, the frequent and diverse cultural and political activities not only opened up a new path to its fame but also promoted the comprehensive expansion of its cultural functions. [ABSTRACT FROM AUTHOR]

Éilís Ní Dhuibhne's elegant essay, '"The Old Woman as Hare": Structure and Meaning in an Irish Legend', published in Folklore, delivers the outcome of considerable reading and thinking in just six pages of text, while notes and references take up another two. Gendered readings of Irish oral tradition were rare in the early nineties, especially in such readable form. I happily urged this example of Éilís's work on my students of Modern Irish and retained most of her findings in memory. Rereading it thirty years later, however, I'm led among the small drumlin farms of north-west Cavan, where my maternal grandparents, Patrick and Ellen Magee, grew up. Éilís's own writings range widely, as seams of scholarship, family, memory and landscape enrich and illuminate each other. My essay reflects on my own family research, visits late in life to the border counties, and material written down in one Co. Cavan school in 1937/38 for the National Folklore Collection, and now available on www.duchas.ie. [ABSTRACT FROM AUTHOR]

A cherished Sri Lankan tradition comprising tales from different regions, stories about Kuweni recount how Prince Vijaya from North India took power in Sri Lanka with the help of Kuweni, a native young woman. This study introduces a qualitative thematic metaphorical approach to analyze Kuweni's legend. The findings presented in "Kuweni's Folklore Characteristics Onion" offer a layered analysis that demonstrates the significance of symbols and metaphors in folklore, offering valuable insights to various creative disciplines. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of the L.N. Gumilyov Eurasian National University. Journalism Series is the property of L.N. Gumilyov Eurasian National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Here, we focus on three distinct, sedimented moments in the legend of a founding miracle—the miracle of Gilles as depicted in the abbey church of Civray, in Poitou: the fresco inspired by this legend in the 13th century, the rediscovery of this fresco and its preservation during the « restoration » of the church's medieval décor in the 19th century, and the interpretation of this same fresco in the early 21st century. These three moments raise questions about the resilience of this painted wall panel, which may have been anachronistic even in the original conception of its 13th-century layout.

The naming of an area is often inseparable from the origins and legends associated with the area. This research focuses on the legend behind the naming of Watu Banteng, which is the name of a residential as well as the name of the area. The origin story or legend of Watu Banteng Residential is analyzed based on the theory of narrative structure according to A.J. Greimas. This research uses a descriptive method with a qualitative approach. It aims to describe the actant scheme and functional scheme contained in the legend of the name of Watu Banteng Residential. Data were collected directly through observation, interviews, and documentation conducted on 10 March 2024 in Jalan Sedap Malam, Jogonalan, Jogosari Village, Pandaan District, Pasuruan Regency. The results showed the existence of an actant scheme, which includes sender, object, receiver, subject, helper, and opponent. In addition, there is also a functional scheme that includes the initial situation, transformation (skill test stage, main test stage, and glory stage), and the final situation in the legend of the name of Watu Banteng Residential.

The history of ancient Indian literature, the diversity of cultures and religious kinds of literature in India have led to the emergence of complex, rich, and voluminous collections of mythical stories. many of which have been transmitted orally for thousands of years. On the other hand, most Indian mythology, exists only at the rural level and oral culture, which must be recorded. These myths are also ancient, and popular traditions and folk myths, and many of them are the myths that make up the bulk of today's gods in India. In addition, the occurrence of extraordinary things in myths and legends are common and fundamental. Therefore, we encounter creatures that suddenly change from solid to animal, from animal to human, and from human to angels, transform and eventually and doing things that are beyond the natural and innate limits of man. For this reason, it seems that these configurations have been created and addressed as a mirror of the aspirations and unattainable aspirations of those people. this study is to investigate and analyze the functioning of various forms of reincarnation in Indian myths and legends, which are human, animal, angelic, God, divan, fairy and even speech and metamorphosis. Includes them. [ABSTRACT FROM AUTHOR]

As seen from the point of view of the dramatist Bernard Shaw, Don Juan is portrayed in his play Man and Superman as a public figure of a womanizer who has appeared in multiple literary works. Ultimately, it tells the story of Superman in terms of the philosophy of Friedrich Nietzsche. By illuminating the thought of Superman, the author seeks to discover the significance of the myth of Don Juan. This study shows that John Tanner, the play's hero, and Don Juan Tenorio are two characters merged into one character. The two characters represent the idea of Superman from different points of view. Through his permissiveness in his everyday life, John Tanner shows his thoughts about Superman. John Tanner is the embodiment of the Superman idea. He is a modified version of Superman. In the meantime, Don Juan Tenorio has become the spokesperson for the Superman idea. His image of Superman reflects Nietzsche's idealized perception. In the long dialogue during the hell scene, he discusses the idea of Superman. Don Juan Tenorio represents what Superman thinks, whereas John Tanner represents what Superman does. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet International Journal of Education is the property of Cumhuriyet University, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article argues that where secrecy and secrets are key aspects of conspiracy theory narratives and practice, the genealogies of the/a secret have not been well understood. We argue that two forms of the secret, one a premodern notion of the secret as truth and revelation, the other a post-Derridean non-secret, inform two distinct forms and functions of contemporary conspiracy practice. [ABSTRACT FROM AUTHOR]

This study seeks to monitor the semiotic structure and describe it in the poem "Children of Shatila" by the Palestinian poet Ahmed Al-Rimawi, in two axes: the horizontal axis, in the phonetic, structural, lexical and semantic levels. The vertical axis touched on the three structures: similarity, contradiction, conflict or tension. We concluded that the poem has a deep structure embodied in the sounds that make the children of Shatila confront the negative enemy of life and spatial existence, leading to the heroism they achieved for man and place. Thus, the poem embodied the pain of the entire Palestinian people, but the new reality changes the equation, and there becomes a dialectical situation between the past and the present, existence and nothingness, space and no-place, and thus the poet communicates his conscious intention full of hope and renewal. [ABSTRACT FROM AUTHOR]

Copyright of Studies in Oral Folk Literature / Estudis de Literatura Oral Popular is the property of Universitat Rovira I Virgili and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studies in Oral Folk Literature / Estudis de Literatura Oral Popular is the property of Universitat Rovira I Virgili and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There is an unusual legend found in a few Jewish works where the biblical figure Shem son of Noah is portrayed becoming immortal. In these stories over time he becomes unhappy that he is unable to die, serving as a cautionary tale about trying to achieve eternal life. Many elements of this legend explicitly contradict traditional Jewish ideas, and it has long been speculated that the legend is based on an Arab tale. The Muslim story of Jesus resurrecting Shem appears to be the basis for this story. [ABSTRACT FROM AUTHOR]

ABSTRACT: The use of heritage in the very short story has a unique textual value, since its presence within differs from other literary genres; given the nature of the text in size on the one hand, and its artistic features in form and meaning on the other one. Interaction with heritage in a text with intense meaning based on the linguistic symbol and the semantic suggestion. It gives the reader different characteristics, such as deletion and brevity, change and modification, not to mention the different nature of reproducing meaning while the act of reading. Through this work, we attempt to explore the manifestations of heritage in the text of the Arabic very short story, the patterns of its use in it, and its semantic function, by approaching a different group of texts in order to reach comprehensive results. This will achieved while restricting the terminology and expanding the basic concepts. الملخص: يكتسي توظيف التّراث في القصة القصيرة جدا قيمة نصّية فريدة، إذ يختلف حضوره فيها عن باقي الأجناس الأدبية الأخرى، وذلك بالنّظر إلى طبيعة النّص حجما من جهة، ومميزاته الفنّية تشكّلا ودلالة من جهة أخرى، فالتّفاعل مع التّراث في نصّ مكثّف المعنى، يقوم على الرّمز اللّغوي والإيحاء الدّلالي، يكسب المتشرَّب صفات مغايرة، حذفًا وإيجازا، تغييرًا وتحويرًا، ناهيك عن طبيعة إعادة إنتاج المعنى المختلفة عند فعل القراءة. وسنحاول من خلال هذا المنجز استشفاف تمظهرات التّراث في نصّ القصة القصيرة جدّا العربية، وأنماط توظيفه فيها، ووظيفيّته دلاليًّا، وذلك من خلال مقاربة مجموعةٍ مختلفة من النّصوص بغية الوصول إلى نتائج كلّية، وسيتمّ ذلك بعد التّقعيد للمصطلحات والبسْط للمفاهيم الأساسيّة

Oral tradition is an oral habit, which usually tells about traditional cultures intergeneration. In Kalimantan Tengah ‘Central Kalimantan’ (called as KT), the oral tradition is varied with many objectives, such as entertaining or providing suggestions. Therefore, the oral tradition is not so popular for the younger generations. This article aims to analyze the dynamics and revitalization of oral tradition in the form of legends that existed in KT. In collecting the data, two techniques were applied: direct observation, and in-depth interview for obtaining field notes, pictures, and recordings. Ethic and emic approaches were also applied as some texts or documents consisted, related to, and discussed the legends were used. The data of oral traditions show that legends in KT are actually dynamics based on the types of legends and movements of the speakers. The speakers who own the legends also try to revitalize their cultures through education, religion, and social media. This condition implies that oral tradition should be introduced to young generations, not only through formal situations but also through informal ones, such as in the family or community learning which has been and is being conducted by the Balai Bahasa in some Provinces in Indonesia.

Geodashboards are often designed with explanatory elements guiding users. These elements (e.g. legends or annotations) need to be carefully designed to mitigate split attention or information integration issues. In this paper, we report expert interviews followed by a controlled experiment where we compare two interface designs with a focus on the split attention effect: (1) a multiple-legend layout with explanatory elements located next to each view, and (2) a single-legend layout with all explanatory elements gathered in one place. Different legend layouts did not affect the performance, but affected user satisfaction. 75% of the participants preferred the multiple-legend layout, and rated it with a higher usability score, mainly attributing this preference to the proximity of legend elements to the view of interest. Eye tracking data strongly and clearly verifies that participants indeed make use of the proximity: With the single-legend, the majority of eye-movement transitions were between the single-legend and the closest view to the legend, whereas with multiple-legend participants have shorter and more frequent legend visits, as well as more transitions between legends and views. Taken together, the design lesson we learned from this experiment can be summarized as ‘split the legend elements, but make it close to the explained elements’.

Richard Matheson’s I Am Legend (1954) is about the volatile relationship between Robert Neville—the sole survivor of the human race—and vampires as the members of a brave new world order. While many critics tend to read the relationship between Robert and the vampires as the colonizer and the colonized, this article sees the need to devise a paradigm to acknowledge the critical merits of all these postcolonial and racial readings without overemphasizing the validity of any of the mentioned readings at the expense of the other. The paradigm shows the journey of a subject who initially thought that he is in absolute control, but later is made to realize that, in his insistence on this position, he is actually being swayed towards marginalization and abjection. At the same time, the initially abject and marginalized vampires assume the position of dominance and normalcy at the end of the novel. In order to reach this understanding, the study draws on Julia Kristeva’s theoretical conceptualization of abjection.

Brecht hatte sich schon früh mit dem altchinesischen Denker Laotse beschäftigt und war begeistert. Sein bislang noch wenig behandelter Zeitungstext Die höflichen Chinesen erzählt die Legende von der Entstehung des Daodejing nach und ist das erste prosaische Zeichen der Bewunderung: Brecht plädierte implizit für ein Leben nach Laotses Lehre. Dreizehn Jahre später hatte Brecht die Legende von der Entstehung des Daodejing wieder aufgenommen, um sie in das Gedicht Die Legende von der Entstehung des Buches Taoteking auf dem Weg des Laotse in die Emigration umzugestalten. Das Exil veränderte Brechts Selbstbewusstsein. Brecht aktualisierte seine Beziehung zu Laotse, indem er sein Selbstbildnis in Laotses Schicksal auftauchen ließ. Auf diese Weise der Aktualisierung wird Die Legende von der Entstehung des Buches Taoteking auf dem Weg des Laotse in die Emigration politisch.

Представлен клад из 37-ми дирхемов Золотой Орды, найденный в начале 2000-х гг. в грабительских отвалах кургана на горе Свистун (северные окрестности с. Александровского Ставропольского края). Скорее всего, он представляет собой часть комплекса, найденного на горе Свистун в 1895 г. В него входят монеты Узбека, Джанибека, Хызра, Бирдибека, Наврузбека и Мюрида. По младшей монете клад датируется 763 г.х. (31.10.1361 — 20.10.1362). Позднейший эмитент — Мюрид (Амурат русских летописей) — упоминается в письменных источниках как правитель Сарая, но монеты он чеканил только в Гюлистане. Сокрытие клада относится к заключительному этапу острой фазы гражданской войны, к которому можно относить определение «Великая замятня». Публикуемый клад — очередная иллюстрация этого явления.

This study aims to identify and produce a relational marketing strategy for the Legend of Tapaktuan tourist attraction. This research used relational theory and emphasized partnership and collaboration with the aim of a sustainable tourism program. Indicators in related programs can relate to the relationship between various parties involved in the tourism industry. The problem formulation in this study is the ideal marketing strategy for the Legend of Tapaktuan tourist attraction in Aceh Province. This study used a descriptive method with a qualitative approach. The results showed that the South Aceh District Tourism Office has tried to promote not only through out-of-town trips but also through online media. To make the Tapaktuan Legend tourist attraction more advanced, the South Aceh District Government carried out the first promotion strategy, advertising and promoting Tour Travel Online services on a number of social media platforms such as Instagram, Facebook and Twitter. The government also offers a number of tour packages by participating in expo activities outside the region to introduce and re-promote tourist destinations, especially the Tapaktuan Legend tourist attraction as an icon of South Aceh. Tourists only need to download an application that provides many features that can be used, such as directions, maps, lodging, and how to get to the location. This application also provides a transportation feature that will make it easier for tourists to visit tourist sites.

With the Republic, the new Turkish state encouraged the collection and research of Turkish folklore materials from Anatolia. Periodicals became an organ where these researches were published and discussed. Published in 1933 by Yaşar Nabi Nayır, Varlık was a magazine in which intellectuals wrote and discussed their observations of Anatolia. Between 1958 and 1962, Yahya Benekay published a series of articles titled "On the Roads of the Southeast" in this magazine. In 1963, this series was awarded the "Turkish Language Association Interview Award". The series included both the rituals and beliefs of the local people and the legends believed/remembered by the civil servants traveling to those regions. Despite this, Benekay's series of articles have not been analyzed in terms of folklore before. In our study, the legends and myths in the series are classified, and the perspectives of the local people and civil servants on the narratives are tried to be conveyed with an unbiased eye. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the article, is scientifically analysed the principles and criteria to determine the genre boundary between the sub-genres of folklore prose such as myth, legend, story, fairy tale. In this, special attention is paid to defining the genre boundary of the legend genre of Karakalpak folk prose. In determining the boundaries between the genres of folklore prose, the relation of the events narrated in the work to the truth, the methods of description used in the description of the truth (the role of magic), the functional tasks performed in life, the features of the application of the actions of the spatial space and time categories, the artistic-structural construction, also, the genre characteristics of Karakalpak legends are revealed based on principles and criteria such as the method of performance (manner). The article, in our opinion, is of great scientific importance, both in theoretical and practical directions. [ABSTRACT FROM AUTHOR]

The ancient correspondence allegedly between the Toparch Abgar V of Edessa and Jesus of Nazareth is usually treated in modern scholarship as legendary, though possession of it was important for the legitimation of Armenia as the first Christian kingdom in ca. 314 A.D. (prior to Constantine's 'Christian' rule of a united Roman Empire from 324, and well before Theodosius I's Edict of Thessalonica in 380). This paper attempts to create a demythologized space in which to reconsider the historical probability that Jesus, widely reputed as a healer in the chief (Near Eastern) Jewish centre of influence, was asked for help by an ailing eminent and replied to his request. Along the way, questions will be raised for further research (italicized) and so in this sense the article takes the form of an Agenda. [ABSTRACT FROM AUTHOR]

The purpose of the work is to highlight the intermedial manifestations of the genre migration from literature to music based on the materials of piano compositions of the Ukrainian authors. Research methodology is based on the principles of comparative studies. In particular, intermedial approach to the study of inter-art language codes in musical compositions with the genre titles connected with the literature interaction has been used. Genological, system-analytical, generalised-typological, and comparative methods have been applied to draw parallels, to find similarities and differences between literary genre connotations and piano interpretations of a ballad, elegy, impromptu, fairy tale, legend, and poem. Scientific novelty of the research lies in an attempt of intermedial analysis of piano compositions with the existing in literature genre definitions by means of semantic-semiotic interferences. The concepts of the "genre migration" have been introduced to the comparative sphere of literary and musical genre halos, sometimes supplemented with programme guidelines, including reliance on specific folklore sources. Conclusions. Migration of the literary genres to the sphere of music is one of the dimensions of intermediality caused by paratexts of inter-artistic dialogues and polylogues in semiotics and semantic plane, as well as in composition-structural aspect. Despite the fact that these interferences are quite conditional, genre paradigm borrowings are the evidence of the direct mutual influence of literature and music, especially on the examples of the genres of ballad and elegy, which represent the genres of the double music-poetic genesis. Comparison with the genre primary basis-"paragon", paratextual combination of musical genres with the literary ones (etude-legend, sonata-ballad) or with the programme title allow to claim the individualisation of the composer's interpretation at different levels of the artistic organisation of a piano script. To sum it up, using literary genre models enriched figurative-semantic, stylistic, and spiritually-cognitive resources of Ukrainian piano music. [ABSTRACT FROM AUTHOR]

Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article considers the possibility and limits of reconstructing the memorial landscape of the Ural town-factory based on the materials of student folklore practical studies in the late Soviet era. The author reveals the stable motifs of the legends connected with the history of the founding of the industrial settlement of Kaslee, as well as with the specifics of the ethnic interaction between Russian settlers and the local population. The article also defines the “places of memory” in folklore materials. The study shows how the scientific and methodological attitudes of folklorists and the methods of interaction between collectors and informants are reflected in the collection of field archival materials from a particular area. The memorial landscape reconstructed according to folklore data tells both about the past of Kaslee and the present, as the perspective of such a description of the past is determined by the present. Archival folklore materials are an example of a combination of practices of communicative and cultural memories. In this aspect, the place of “songs about the city” is also determined in the article. The authors believe that “empty cells” – lacunae of archival memory, about which the informants did not tell and/or the collectors did not ask, are significant elements of this memorative landscape. The stories related to the accident at the Mayak chemical plant in 1957 and the environmental agenda in general become such subjects of silence. The article will be useful to folklorists and anyone interested in the problems of memory in folklore materials, as an attempt to apply the methods of folklore and anthropology to the practice of memory studies.

Herodotus’ logos about Scythians and ξεινικὰ νόμαια – amusing and ominous, as is typical of him, yet insightful – consists of two stories about the sad lots of Anacharsis and Scyles; the story begins with a statement that Scythians shun practicing customs of other peoples, particularly those of Hellas; it ends as an adage asserting the initial statement: that is the way Scythians guard their customs (IV.76–80). Herodotus describes the barbarian neighbours’ attitude towards foreign and alien customs. But these two examples are about their own, Scythian, heroes or rather antiheroes. The Scythian kings make short work not of aliens but of their fellow countrymen who betrayed their own customs and deny their ancestors’ faith. The Scythians regard Anacharsis’ and Scyles’ deeds as a crime against their culture. Both the philhellenes forswear their native religion and customs and abandon themselves to Greek ritual practices; therefore, they suffer for their behaviour. The author of the article holds that Herodotus was sympathetic to Scythians’ resentment against ξεινικὰ νόμαια. The Greek historian writes for his, Greek, readers/audience. The stories about Anacharsis and Scyles are not as much about the notorious ‘otherness’ of different cultures and certainly not about their severity and savageness, their cruelty and antipathy towards outlandishness. The Father of History speaks about piety and patriotism of Scythians, who believe that the offence against νόμαια is a threat to the very foundation of their culture. These illustrative examples are meant for the Hellenic audience; the amusing λόγοι about Oriental themes serve as an entreaty for Hellenes themselves.

In this article are considered legends and lore, customs and traditions the Karakalpak people in the text of the novel of the Karakalpak writer Tulepbergen Kaipbergenov "The legend of Maman biy". In linguistic science in recent time there is growing interest among researchers towards peculiarities of individual literary creativity. Individual style of every writer is tightly knit with his or her worldview, spiritual and creative personality. Each author's individual style reflects specific characteristics of writer's personality that serve as the means of realization of artistic ideas and creative design. In legends and lore are expressed the crucial moments in people's history, strong characters, important events. They were transmitted from generation to generation mainly orally and were memorized by heart. Traditions and customs serve as the foundation for the vision and understanding of the world by people. They united people, helped to preserve their uniqueness, their mentality, as well as assisted their survival in difficult conditions, keeping the people as a whole. In them are contained forms and methods of folk pedagogy, that helped to shape worldviews of young generation. The use of legends and lore, customs and traditions is the style-generating factor in the literary works of the Karakalpak writer Tulepbergen Kaipbergenov. [ABSTRACT FROM AUTHOR]

All nations in the world have produced legends about communities who are foreign to them. They have turned the origins, traditions and uses of these communities into narratives at the mythic level. They produced legends about each other and made foreign tribes the subject of their own folk tales, tales and epics. While these stories show the feature of getting to know the stranger first, they diversify after getting to know the foreigner. This is especially common in neighboring tribes. In various periods of history, Turks, too, frequently flocked to Europe and became neighbors with European nations, lived together and fought with them with the intention of being permanent and plundering. This long interaction process pushed the European people to create legends about the Turks. However, these creations are not positive as they are mostly the result of wars. On the contrary, they are legends made from scratch that the Turks are conveyed as enemies while the victories won againts the Turks are valued as legendary, and it sometimes mixed with the old stories of the nations or it was completely about the Turks. In this essay, the legends and memorats will be examined. Subsequently, how the Turkish perception developed in the European oral culture and how the Turks affected the social life of the European people will be discussed. [ABSTRACT FROM AUTHOR]

Kazakh folklore, which has been preserved in the memories of people for centuries, has been verbally transmitted between generations. By the beginning of the 19th century, it finally succeeded to find a place in concrete documents and attracted the interest of the scientific communities. The studies about the Kazakh folklore had systematically begun to be studied and published during the Soviet period. In this period, the Kazakh folklore had been classified in terms of genres and the most important ones found themselves a place in various textbooks. However, it cannot be said that the folklore collections published so far contain all the valuable heritage of the Kazakh people from the ancient times. It was because there was the prohibition of publishing some folklore genres which did not meet the social and ideological interests of the Soviet period; as a result, some folklore works was not studied. Religious epics, mythological legends, historical jirs and many other folklore texts are some of the leading genres of this non-studied group. After Kazakhstan became an independent country, the study of all national folklore genres of Kazakh Turks was undertaken. Ancient folk traditions, customs and oral literature were revived after Kazakhstan gained its independence. Some folklore genres which were not academically researched in the past, but survived with the oral tradition, have finally begun to be researched, compiled, and published. Legends, which are considered as oral literature genres, have been compiled from the public. In this article, nine Kazakh legends have been studied, explaining the reasons of people's transformations into birds and other animals, in the Turkish dialect of Turkiye. The similar variants in Anatolian-Turkish legends to these texts have also been determined. This article consists of the main titles: Myths About Humans Transformation into Birds, and Myths About Humans Transformation into Other Animals. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper identifies the relationship between nature and human beings in a corpus of Boyacá rural legends. Firstable, this work approaches the concept of legend and its characteristics; then, the corpus is analyzed from ecocritical postulates to find the common factors between environment and human being that allows its subsequent categorization in: nature protective beings and nature as an active subject. Finally, it is concluded that nature is not only a central part of the legends, but a vital part of the Boyacá peasant identity; therefore, nature influences by its cultural value towards the promotion of ecological awareness. [ABSTRACT FROM AUTHOR]

The love story between Chibinda Ilunga and Lueji, one of the best-known legends of Central African history, recounts the genesis of the Mwant Yav dynasty of the Lunda polity. Previous discussions of the narrative pitted symbolic interpretations against historical findings. This article asks why the Lunda love story became so influential from the middle of the nineteenth century. Instead of being an exclusively Lunda genesis narrative, the love story represented the interests and narratives of societies brought together by the caravan trade in Kasai and eastern Angola, including Chokwe, Ambakista, Luba, and Imbangala, all of whom added components to the legend compiled by Portuguese explorer and diplomat Henrique Dias de Carvalho. The legend took on importance as diverse factions competed for political titles and trading profits. In the hands of Carvalho and his informants the love story became a tool to construct a Pax Lunda guaranteed by the Portuguese. By demonstrating the quotidian politics of the love story, the article suggests the utility in the historical contextualization of the telling of oral traditions to appreciate their multiple meanings. [ABSTRACT FROM AUTHOR]