scholarly journals Сюжетные звенья калмыцкого «Сказания о Гесере-богдо» в записи от Ш. Д. Дорджиева (1893–1984): содержательный состав

2021 ◽  
Vol 14 (5) ◽  
pp. 1111-1121
Author(s):  
Evdokia E. Khabunova ◽  
◽  
Tsetsenbat Tsetsenbat ◽  
Keyword(s):  
Special Character ◽  
Plot Structure ◽  
The Way

Introduction. The article aims to analyze the plot lines of the Kalmyk ‘Gesr bogdyn tusk tuuҗ’ (The Legend of Geser Bogdo), performed by Sh. D. Dordzhiev and written down in 1982. So far, the legend has not been examined. The present authors begin with analyzing the way the storyteller composes his narrative in terms of structure and content, while identifying parallels with other epic narratives of Geser. Materials and methods. The study focuses on The Legend of Geser Bogdo recorded from Sh. Dordzhiev, and special attention is paid to S. Neklyudov’s methodological generalizations on the scheme of typical elements within Mongolian epic narratives. Results. The analysis shows that the plot structure of the Legend of Geser Bogdo in question includes a set of motifs that are standard for Geser epic narratives and are logically consistent (heavenly origin, difficult childhood, marriage, demonic fight, etc.). At the same time, individual details of the narrative were modified to a degree. Two storylines (matrimonial and military) are clearly indicated by the narrative, which reflects the memory of Kalmyks of the special character of Geser, the warrior and the defeater of demons. The authors conclude that the Kalmyk Legend of Geser Bogdo was based on the well-known invariants of plot lines and motifs in the oral versions of Geser epic, creatively modified when performed by the narrator.

Lankesh, P. (1935–2000)

2018 ◽  
Author(s):  
V.B. Tharakeshwar
Keyword(s):  
Public Sphere ◽  
Short Story ◽  
Theatre Of The Absurd ◽  
Story Writer ◽  
Plot Structure ◽  
The Way

P. Lankesh was a prominent Kannada novelist, short story writer, playwright, and essayist. A strong voice in the Kannada public sphere from the 1970s to the 1990s, he acted as a conscience-keeper not only through his writings, but also through Lankesh Patrike, a weekly he edited. Lankesh began his career as a teacher of English at Bangalore University, but soon shifted to filmmaking, then journalism. His short story collections Kereya Neerannu Kerege Chelli (1963), Nanalla (1970), Umapatiaya Scholarship Yaatre (1973), Kallu Karaguva Samaya (1990), and Ullanghane (1996) are landmarks in Kannada literature for the way they framed the debates in the respective decades. In his first novel, Biruku (1967), Lankesh used modernist techniques in writing, while his second novel, Mussanjeya Katha Prasanga (1978), shifted to the epic mode with episodic, multi-plot structure and a more realistic style of narration tinged with the comic. His third novel, Akka (1991), which depicts a woman of a slum through the eyes of her brother, was more pronouncedly political, reflecting Lankesh’s changed sensibility in the context of the Dalit and Bandaya (revolt) movement in Kannada literature, of which Lankesh was a vocal supporter. Lankesh was also one of the most important Kannada playwrights of his time, alongside Girish Karnad and Chandrashekar Kambar. His early plays exhibit the influence of existentialism and the Theatre of the Absurd. The best examples are T. Prasannana Gruhasthashrama (1962), Nanna Thangigondu gandu Kodi (1963), Polisariddare, Eccharike! (1964), Teregalu (1964), Kranti bantu, Kranti (1965), and Giliyu Panjaradolilla (1966). His later works Sankranti (1971) and Gunamukha (1993) are historical plays that reverberate with contemporary significance.

Class and its Distinctions

2018 ◽  
pp. 500-516
Author(s):  
Chris Vanden Bossche
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
Social Inclusion ◽  
Self Interest ◽  
The World ◽  
The Status ◽  
Plot Structure ◽  
The Way

Dickens employs a range of class discourses to imagine possibilities of social being defined in terms of middle-class selfhood. This self seeks social inclusion represented as the achievement of the status of the gentleman or gentlewoman. The nineteenth-century shift of gentility from inborn quality to a quality of character that is earned through self-making in turn raises the possibility of mere self-invention and along with it the pursuit of self-interest at the expense of others. This problematic accounts for the repeated plot structure in which a protagonist is excluded from genteel society and can only re-enter it through earning his or her way in the world. In the late novels, Dickens focuses in particular on the way in which the desire for social inclusion is generated by gestures of exclusion and thus questions gentility as a viable category for defining social being.

scholarly journals Malformation and Isolation: Critique to Jewish Orthodoxy Found in Franz Kafka’s "The Metamorphosis"

Lexicon ◽  
2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Anindya Firda Khairunnisa
Keyword(s):  
Franz Kafka ◽  
Orthodox Judaism ◽  
Freudian Psychoanalysis ◽  
External Data ◽  
Ways Of Thinking ◽  
Plot Structure ◽  
The Way ◽  
Divine Law

The research discusses the Jewish images found in The Metamorphosis by Franz Kafka and its interpretation. It aims to prove that the utilization of Jewish images within the novella shows the author’s underlying critique towards Jewish Orthodoxy’ ways of thinking, particularly the way they regard the Holy Scripture. The data used in the research are taken from Franz Kafka’s The Metamorphosis, in the form of words containing plot structure, characters and characterizations (including dialogue and actions), metaphors, symbols, and allusions, which represents a certain Jewish value within Kafka’s The Metamorphosis. The data are then analysed with Freudian Psychoanalysis, supported by external data such as the background of the author and information about Orthodox Judaism. The result of the research concluded that, in The Metamorphosis, Franz Kafka demonstrates that in front of the unquestioned and oblivious masses of the divine law human is hopeless; just like Gregor who ends up dying an unjustified death.

Interiority

2017 ◽  
Author(s):  
Richard Preiss
Keyword(s):  
Early Modern ◽  
The Body ◽  
Early Modern Theatre ◽  
History Of ◽  
Negative Space ◽  
Revenge Plays ◽  
Plot Structure ◽  
Complex Characters ◽  
The Way

This chapter traces the history of theatrical interiority and shows when and why early modern theatre became invested in it. More specifically, it examines the way the enclosure of the theatres made possible not only a newly commercialized drama but also characterization and plot-structure that depended on an implied but unrevealed depth. The chapter first considers the analogy between round amphitheatres and ‘round’, complex characters before discussing the culture of the money box to establish the link between early modern theatrical economics and its aesthetics. It then looks at the play’s resistance to closure, its messiness and overcomplication, and the ‘interiority’ of its characters and how characters in later revenge plays construct interiority as negative space. It argues that characters are not people so much as playhouses, propagating the illusion of depth after depth has run out, and explains how ‘interiority’ in the early modern theatre begins as merely its exterior reinscribed—its circle reduced into the body of the actor until it became a point, elemental and ‘inviolate’.

Tragic and Comic Forms in Amos

1998 ◽  
Vol 6 (1) ◽  
pp. 20-48 ◽  
Author(s):  
Joyce Rilett Wood
Keyword(s):  
Narrative Structure ◽  
Cultural Background ◽  
Literary Text ◽  
Upward Movement ◽  
Downward Movement ◽  
Dramatic Monologue ◽  
Mediterranean World ◽  
The Mediterranean ◽  
Plot Structure ◽  
The Way

AbstractThe literary distinction between the poetry of Amos and its prophetic update is matched by a difference in the form of the two works. Amos composed a dramatic piece, and its plot structure has the downward movement of tragedy. His commentator changed the tragic poetry into a historical piece, and its narrative structure has the upward movement of comedy. Each narrative movement takes on a definite but contradictory form, and the form structures each literary text as a whole and also shapes its individual components. Understanding the tragic and comic forms in Amos is the way to capture the flow and meaning and interwoven complexities of the whole book. The idea that Amos composed a dramatic monologue or tragic monody for recitation before an audience is supported by the literary evidence and corroborated by the wider cultural background of the Mediterranean world. The comic author, in common with Greek comic writers, commented on the tragic poet and his poetry by way of parody, imitation, quotation and allusion.

scholarly journals Ordering ideas or ordering experience? E.L. Lowry’s homiletical plot structure – an exploration and evaluation

2007 ◽  
Vol 41 (1) ◽  
Author(s):  
C. J.H. Venter
Keyword(s):  
Plot Structure ◽  
The Way

In this article E.L. Lowry’s homiletical theory is explored and investigated. The basis of his theory is that the view that a sermon is structured according to the ordering of ideas, arranged under an enforced extra-textual theme (idea), implies an outdated approach. He argues that instead of ideas experience should rather be ordered in a (new) homiletical theory in which the hearer of a sermon plays a prominent part. In this regard Lowry develops a profile of a sermon containing a narrative plot. In this suggested plot Lowry discerns five sequential stages: upsetting the equilibrium, analysing the discrepancy, disclosing the clue to a possible resolution, experiencing the gospel and anticipating the consequences. From this perspective he also suggests guidelines for preparing a sermon regarding the following: the form and focus of the sermon, the way in which an outline for the plot is produced and the goal of a sermon. Lastly he also directs attention to creativity in sermon-making. In the concluding section of the article Lowry’s homiletical theory is evaluated critically.

Self-sacrifice for in-group's history: A diachronic perspective

2018 ◽  
Vol 41 ◽  
Author(s):  
Maria Babińska ◽  
Michal Bilewicz
Keyword(s):  
Clinical Psychology ◽  
Historical Events ◽  
Emotional Events ◽  
Reciprocal Process ◽  
The Way

AbstractThe problem of extended fusion and identification can be approached from a diachronic perspective. Based on our own research, as well as findings from the fields of social, political, and clinical psychology, we argue that the way contemporary emotional events shape local fusion is similar to the way in which historical experiences shape extended fusion. We propose a reciprocal process in which historical events shape contemporary identities, whereas contemporary identities shape interpretations of past traumas.

What is the purpose of cognition?

2020 ◽  
Vol 43 ◽  
Author(s):  
Aba Szollosi ◽  
Ben R. Newell
Keyword(s):  
Infinite Number ◽  
Human Cognition ◽  
The Way

Abstract The purpose of human cognition depends on the problem people try to solve. Defining the purpose is difficult, because people seem capable of representing problems in an infinite number of ways. The way in which the function of cognition develops needs to be central to our theories.

Peculiarity Parameters

1976 ◽  
Vol 32 ◽  
pp. 233-254
Author(s):  
H. M. Maitzen
Keyword(s):  
Magnetic Field ◽  
Magnetic Fields ◽  
Theoretical Work ◽  
Observational Evidence ◽  
Rotator Model ◽  
Peculiar Behaviour ◽  
Field Spectrum ◽  
Oblique Rotator ◽  
Ap Stars ◽  
The Way

Ap stars are peculiar in many aspects. During this century astronomers have been trying to collect data about these and have found a confusing variety of peculiar behaviour even from star to star that Struve stated in 1942 that at least we know that these phenomena are not supernatural. A real push to start deeper theoretical work on Ap stars was given by an additional observational evidence, namely the discovery of magnetic fields on these stars by Babcock (1947). This originated the concept that magnetic fields are the cause for spectroscopic and photometric peculiarities. Great leaps for the astronomical mankind were the Oblique Rotator model by Stibbs (1950) and Deutsch (1954), which by the way provided mathematical tools for the later handling pulsar geometries, anti the discovery of phase coincidence of the extrema of magnetic field, spectrum and photometric variations (e.g. Jarzebowski, 1960).

The mensuration of interfaces

1992 ◽  
Vol 50 (1) ◽  
pp. 216-217
Author(s):  
W.M. Stobbs
Keyword(s):  
Electron Microscopy ◽  
50Th Anniversary ◽  
Numerical Data ◽  
Industrial Applications ◽  
Dynamical Theory ◽  
Large Strains ◽  
Reasonable Approach ◽  
Lattice Resolution ◽  
Analogue To Digital ◽  
The Way

I do not have access to the abstracts of the first meeting of EMSA but at this, the 50th Anniversary meeting of the Electron Microscopy Society of America, I have an excuse to consider the historical origins of the approaches we take to the use of electron microscopy for the characterisation of materials. I have myself been actively involved in the use of TEM for the characterisation of heterogeneities for little more than half of that period. My own view is that it was between the 3rd International Meeting at London, and the 1956 Stockholm meeting, the first of the European series , that the foundations of the approaches we now take to the characterisation of a material using the TEM were laid down. (This was 10 years before I took dynamical theory to be etched in stone.) It was at the 1956 meeting that Menter showed lattice resolution images of sodium faujasite and Hirsch, Home and Whelan showed images of dislocations in the XlVth session on “metallography and other industrial applications”. I have always incidentally been delighted by the way the latter authors misinterpreted astonishingly clear thickness fringes in a beaten (”) foil of Al as being contrast due to “large strains”, an error which they corrected with admirable rapidity as the theory developed. At the London meeting the research described covered a broad range of approaches, including many that are only now being rediscovered as worth further effort: however such is the power of “the image” to persuade that the above two papers set trends which influence, perhaps too strongly, the approaches we take now. Menter was clear that the way the planes in his image tended to be curved was associated with the imaging conditions rather than with lattice strains, and yet it now seems to be common practice to assume that the dots in an “atomic resolution image” can faithfully represent the variations in atomic spacing at a localised defect. Even when the more reasonable approach is taken of matching the image details with a computed simulation for an assumed model, the non-uniqueness of the interpreted fit seems to be rather rarely appreciated. Hirsch et al., on the other hand, made a point of using their images to get numerical data on characteristics of the specimen they examined, such as its dislocation density, which would not be expected to be influenced by uncertainties in the contrast. Nonetheless the trends were set with microscope manufacturers producing higher and higher resolution microscopes, while the blind faith of the users in the image produced as being a near directly interpretable representation of reality seems to have increased rather than been generally questioned. But if we want to test structural models we need numbers and it is the analogue to digital conversion of the information in the image which is required.

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