scholarly journals Ya. B. Knyazhnin’s Tale in Verses Flor and Lisa in the Context of Early Russian Ballads

2019 ◽  
pp. 104-122
Author(s):  
L. A. Kurysheva
Keyword(s):  
Fairy Tale ◽  
Early Stage ◽  
Romantic Period ◽  
Love Story ◽  
Course Of Action ◽  
Russian Literary ◽  
The Dead ◽  
The One ◽  
Dead Man ◽  
The 19Th Century

One of the popular plots of the Russian literary ballad of the last third of the 18th – the first decade of the 19th century was the story of treacherous love. Ya. B. Knyazhnin’s Flor and Lisa. A Tale in Verses (1778) is one of the first Russian ballads. In addition, this is the first Russian ballad with the appearance of the dead man – the plot situation is so productive in the subsequent, romantic period. It is characteristic that at the early stage of the formation of a new literary genre, the nomination “ballad” does not appear for all authors. Poets get along either without a genre designation, or use more familiar nominations, genres in origin related to a lyro-epic ballad: song, romance, “fairy tale in verses”. We observe, on the one hand, the variability of genre nominations for the lyric-epic narration of a personal dramatic event, and on the other hand, the instability of ideas about the formal and substantive components of the genre of “ballad”. The most typologically close to Flor and Lisa is the N. M. Karamzin’s ballad Alina (<1790– 1791>). Both ballads are devoted to the theme of infidelity and both develop a ballad version of the fairy-tale plot “The husband at the wife’s wedding”, which ends with the transition to the world of the dead and the reunion of lovers. In addition, the similarity lies in a detailed narrative manner and the psychologization of the ballad conflict through direct author commentary. In Flor and Lisa, all events – love, betrayal and the reunion of lovers in death – are presented as extraordinary. The tragic ending is due to the mysterious connection of the fate of the two characters, reinforced by the mythology of the “plant code”. The verification technique (quatrains, four-footed iambic, cross-rhyme, alternating female and male clauses) emphasizes the tightness of the love story. In Karamzin’s Alina, the course of action is due to a combination of universal laws of human existence and the fateful connection of characters. The ballad event is the final union of lovers, despite their stay in different worlds, earthly and heavenly. The mythopoetic basis of the plot is composed of images of changing elements and nature. The verification technique (non-strophic four-foot iambic with free rhyme) supports the idea of fluidity, whimsicality of the elements of life.

sacrifice. [17] Philoneos’ concubine went along for the sacrifice. When they were in Peiraieus, Philoneos sacrificed, of course. And when he had completed the sacrifice, the female wondered how to administer the drug to them, before or after dinner. And as she considered the matter she concluded that after dinner was better; she was also acting on the instructions of this Klytaimestra, my brother’s mother. [18] The full account of the dinner would be too longwinded for me to tell and you to hear. I shall try to give as brief an account as I can of the rest, of how the poison was administered. After dinner, naturally, since one was sacrificing to Zeus of Possessions and entertaining the other, and one was about to go on a voyage and was dining with a close friend, they made a libation and offered incense for their future. [19] And while Philoneos’ concubine was pouring the libation for them – as they offered prayers which would never be fulfilled, gentlemen – she poured in the poison. Thinking she was being clever, she gave more to Philoneos in the belief perhaps that if she gave him more she would win more affection from him – she had no idea that she was my stepmother’s dupe until disaster struck – while she poured less in our father’s drink. [20] They for their part after pouring their libations took their final drink, holding in their hands their own killer. Philoneos died at once on the spot; our father was afflicted with a sickness from which he died after twenty days. For this the assistant who carried out the act has the reward she deserved, though she was not to blame – she was put on the wheel and then handed over to the public executioner; the guilty party, the one who planned it, will soon have hers, if you and the gods will it. [21] Note how much more just my plea is than my brother’s. I urge you to avenge the dead man, who is the victim of an irreparable wrong. For the dead man my brother will offer no request, though he deserves your pity and support and vengeance for having his life taken in a godless and inglorious manner before his time by the last people who should have done this. [22] His plea will be for the murderess, a plea which is unprincipled, unholy, which deserves neither fulfilment nor attention either from the gods or from you; he will seek with his plea (to induce you not to convict her for her crimes) though she could not induce herself not to devise them.* But you must give your support not to those who kill but to the victims of deliberate

2002 ◽  
pp. 47-48
Keyword(s):  
Close Friend ◽  
The Other ◽  
Full Account ◽  
The Public ◽  
The Dead ◽  
The One ◽  
Dead Man ◽  
The Sacrifice

scholarly journals FUNCTIONS OF REMINISENCES IN CHRISTMAS STORIES OF MODERN RUSSIAN WRITERS (ON THE EXAMPLE OF THE WORKS OF Yu. BUIDA AND D. BYKOV)

2021 ◽  
Vol 31 (6) ◽  
pp. 1313-1318
Author(s):  
G.G. Ramazanova ◽  
Z.A. Zaripova
Keyword(s):  
Fairy Tale ◽  
Comparative Method ◽  
Literary Traditions ◽  
19Th Century Literature ◽  
Russian Literary ◽  
Moral Problems ◽  
Soviet Time ◽  
Child's Death ◽  
Literary Classics ◽  
The 19Th Century

The Little Match Girl by H.Ch. Andersen is a fairy tale that tells a tragic story about a child's death at Christmas night. Famous Russian authors Yu. Buida and D. Bykov have written stories with the same names (The Little Match Girl and The Little Match Girl Gives a Light). The authors deliberately used these names to show the relation with the famous work. In both stories, the action is set within the timeline defined by the canons of religious calendarial prose. There are miracles in the stories; the Christmas characters are archetypes, as they are kind, merciful and compassionate. The stories written by the contemporary authors are examples of a kind of a palimpsest. They show the socio-historical collisions and moral problems of the post-Soviet time. The article uses the comparative method which allows us to consider the types of characters, to find literary traditions and innovations in the prose of the writers. It is important to take an intertextual approach during (when) examining the stories. It helps identify and analyze how certain motifs and images relate in the 19th century literature and fiction texts of modern writers. This approach reveals the deep connection between the works and the texts of world and Russian literary classics.

from the gods and from your ancestors, and you apply the same standards as they when voting for conviction; secondly avenge the dead man; and at the same time rescue me, for I am left all alone. [4] For you are my nearest kin. The ones who should by rights have acted as the dead man’s avengers and as my allies have proved to be the dead man’s killers and have become my adversaries. What allies is a man to seek, where else will he go for refuge, except to you and to justice? [5] I am amazed at my brother. Whatever does he mean in appearing as my opponent? Does he think that piety consists in not abandoning his mother? Personally, I think it far more impious to abandon the vengeance due to the dead man, especially as his death was unplanned and unintentional on his part, while the murder was deliberate and intentional on hers. [6] And he cannot claim that he knows for certain that his mother did not kill our father. For he refused the one source of sure knowledge, from torture, while he welcomed sources which could not provide information. Yet he should have been eager, and this was the substance of my challenge, to investigate what really happened. [7] For if the slaves did not support me, he could have offered a vigorous defence against me based on certain knowledge and his mother would have been rid of this charge. But where he refused to put the facts to the test, how can he possibly have knowledge of matters he refused to ascertain? [8] What defence will he offer, I ask myself. For he was well aware that torture meant she could not be saved; he thought her salvation lay in refusing the torture. They believed that the facts could be suppressed by this means. So surely his oath that he knows for certain cannot be true, if he refused to obtain sure information when I was willing to use the fairest test, the torture, in this matter? [9] For to start with I offered to put to the torture his slaves, who knew that this woman, their mother, had also plotted earlier to kill my father with drugs, that my father had caught her in the act and that she made no denial beyond claiming that she was administering them not to kill him but as a love potion. [10] This was my reason for wishing to put them to the test in this way. I put accusations against this woman in writing and invited my opponents themselves to act as questioners in my presence, so that the slaves would not be forced to answer questions put by me; instead I was satisfied if the questions in my document were used. (And it is right that this should count as evidence for me, that I am pursuing my father’s killer properly and

2002 ◽  
pp. 45-46
Keyword(s):  
The Dead ◽  
The One ◽  
Dead Man

scholarly journals Features of Russian fairy-tale drama of the first half of the 19th century: articulation of the issue

2021 ◽  
Vol 61 ◽  
pp. 151-165
Author(s):  
Darya A. Zaveljskaya
Keyword(s):  
19Th Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
General Context ◽  
Comic Opera ◽  
Russian Literary ◽  
Characteristic Features ◽  
Children's Drama ◽  
The 19Th Century ◽  
Good And Evil

The paper deals with the issue of forming of fairy tales artistic model in Russian drama. Currently, one considers dramatic fairy tale mainly in a general context of development of the author's literary fairy tale, although it has its own specifics. The study reviews some questions on the style and genesis of the Russian literary fairy tale for children in relation to the development of author's literary fairy tale as such. The author analyzes the influence of poetics of romanticism on the specifics of dramatic fairy tale, as well as the features of dramatic works by V. F. Odoevsky, who significantly influenced children's literature. His play “The Tsar-Maiden,” intended for children, is considered in comparison with a play by E.-T.-A. Hoffmann “Princess Blandina,” with similarities found in the system of characters, motif of matchmaking and some plot features associated with this motif. The fairy-tale play for adults “Segeliel or Don Quixote of the 19th century” analyzes the motifs of personified confrontation of good and evil and the interpenetration of magic and the ordinary, which was characteristic of romanticism in general and embodied both in other works of Odoyevsky and in later, mainly children's fairy-tale drama. The author suggests the possibility of influence of Odoevsky's plays on the development of children's drama. In both plays, we see the conventionality of artistic reality, resonating with humorous or ironic author's intonation. The paper also addresses I. A. Krylov's magical comic opera “Ilya Bogatyr,” revealing many characteristic features of Odoevsky's plays. At the same time, a distinction is made between Krylov's work and romantic direction, since the tradition of classicism is more clearly manifested in it. One may consider a reduction in pathos owing to humorous playing of heroic and mystical motifs as a feature of the comic opera. The analysis of these works allows us to formulate some characteristics of artistic model of the fairy-tale play, including conventionality of a fictional world, unexpected turns, personification of good and evil, unsteadiness of boundaries between the miracle and the ordinary, as well as humor and irony.

has done, you would be right to hate him. [23] For if he has brought up his sons in such a way that they feel neither fear nor shame to commit offences in his presence, offences at that which in some cases carry the death penalty, what punishment in your view could not reasonably be inflicted on him? For myself, I think that this is evidence that he did not respect his own father either; for if Konon personally had honoured and feared his own father, he would have demanded that his sons too honour and fear him. [24] Please take these laws too, the law dealing with outrage and the one about clothes-stealers. For you will see that they are liable under both. Read it. Laws Konon’s actions render him liable under both laws; he committed both outrage and clothes-stealing. And if we have chosen not to sue under these laws, though we would rightly be recognized as peaceful and reasonable, he is a criminal all the same. [25] Indeed, if anything had happened to me, he would have faced a charge of murder and the most terrible punishment. At any rate, in the case of the father of the priestess at Brauron, though it was agreed that he did not touch the dead man, the Council of the Areopagos exiled him because he urged on the man who struck the blow. And rightly so; for if bystanders instead of checking people attempting a wrongful act through wine or anger or any other cause actually incite them, there is no hope of escape for anyone who falls into the hands of men of violence, and it will be his lot to suffer outrageous treatment until they give up. And this is what happened to me. [26] Now I want to tell you what they did when the arbitration took place. This too will show you their recklessness. They prolonged the time beyond midnight by refusing either to read out the depositions or to hand over copies and just taking our supporters one by one to the stone and making them take an oath, and drafting utterly irrelevant depositions, to the effect that this was his son by a mistress and that he had been treated in this way or that, behaviour which roused the disapproval and disgust of every person present, including finally their own. [27] Anyway, when they tired and had had enough of this conduct, they issued a challenge aimed at causing delay and preventing the sealing of the

2002 ◽  
pp. 98-98
Keyword(s):  
Death Penalty ◽  
The Dead ◽  
The Law ◽  
The One ◽  
A Charge ◽  
Dead Man

scholarly journals INTERCONTEXTUAL READING OF ROBERT MUSIL’S “MAN WITHOUT QUALITIES”

2021 ◽  
Vol 6 (1) ◽  
pp. 18-34
Author(s):  
Alexander W. Belobratov
Keyword(s):  
Cultural Awareness ◽  
The Novel ◽  
Individual Concepts ◽  
Contextual Framework ◽  
Russian Literary ◽  
Micro Level ◽  
Foreign Text ◽  
The One ◽  
Literary Classics ◽  
The 19Th Century

The analysis of the active reception process, the interaction of “its own” and “alien” seems very fruitful in the study of the epoch-making Robert Musil’s novel “Man without qualities” (1930–1942). The analytical evaluation of the Austrian author’s contact with the “alienness” (in this case, with Russian literary classics) in the form of the discovery of “his own essence” is carried out at the micro-level of individual concepts, expressions, descriptions of characters, and explicit or implicit quotations. The intertextual level of reading the novel expands at the expense of the intercontextual level. Thus, the literary text is read from the foreign (Russian) reader’s cultural referential framework. This means an attempt to recognize the reader’s “own essence” in the “alienness” text, to reinterpret a foreign text, when, on the one hand, the “own essence”, i.e. in this case the work of the 19th century Russian novelists, is subjected to scrutiny in relation to its reception of the Austrian writer as “alien”. On the other hand, Musil’s novel is read through the lens of Russian cultural awareness, and included in the contextual framework of Russian reception, formed by Goncharov’s, Dostoevsky’s, and Leo Tolstoy’s works.

The Application of UX Research in New Energy Vehicle Innovation

2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Menghan TAO ◽  
Ning XIAO ◽  
Xingfu ZHAO ◽  
Wenbin LIU
Keyword(s):  
Early Stage ◽  
Rapid Expansion ◽  
The Other ◽  
Innovative Product ◽  
Stage Of Development ◽  
New Energy ◽  
New Energy Vehicle ◽  
The One ◽  
New Energy Vehicles ◽  
Degree Of Innovation

New energy vehicles(NEV) as a new thing for sustainable development, in China, on the one hand has faced the rapid expansion of the market; the other hand, for the new NEV users, the current NEVs cannot keep up with the degree of innovation. This paper demonstrates the reasons for the existence of this systematic challenge, and puts forward the method of UX research which is different from the traditional petrol vehicles research in the early stage of development, which studies from the user's essence level, to form the innovative product programs which meet the needs of users and being real attractive.

Shalott’s Song: a Specific Feature Found in Balmont’s Translation of A. Tennyson’s Poem «The Lady of Shalott»

2020 ◽  
pp. 22-33
Author(s):  
Margarita Shanurina
Keyword(s):  
Neutral Word ◽  
Fairy Tale ◽  
The Other ◽  
Original Text ◽  
Academic Paper ◽  
Other Hand ◽  
The One

This academic paper is devoted to the analysis of a specific feature which could be found in K. Balmont’s translation of A. Tennyson’s poem «The Lady of Shalott». The aim of the work is to study the reasons why Balmont uses the word «волшебница» to describe the heroine in his translation while there is no word with such semantics in the original text. (This word is put in the name of the translated work and it is found in almost every stanza).English analogue of the word «volshebnitsa» (that is, the word «enchantress», which, according to the Oxford English Dictionary, is closest to this word in semantics), while in the original text of the poem this word is not mentioned, the neutral word «lady» is used andonce (in the speech of the mower who hears the heroine singing, but does not see her) there is the word «fairy». This article, on the one hand, summarizes existing studies on the topic; on the other hand, complements them. The study highlights and considers several reasons for the above-mentioned discrepancy between the original text and its translation: emphasizing the connection with a fairy tale, revealing a number of motifs which play an important role in the work of Balmont himself (namely, motifs of music and creativity as magic) and an indication of the main heroine’s charming beauty.

On the nature of chemistry

2018 ◽  
Vol 10 (2) ◽  
pp. 74 ◽  
Author(s):  
Eric R. Scerri
Keyword(s):  
19Th Century ◽  
The Other ◽  
Recent History ◽  
History Of Chemistry ◽  
History Of ◽  
The One ◽  
Fundamental Unity ◽  
The 19Th Century

<span>The very nature of chemistry presents us with a tension. A tension between the exhilaration of diversity of substances and forms on the one hand and the safety of fundamental unity on the other. Even just the recent history of chemistry has been al1 about this tension, from the debates about Prout's hypothesis as to whether there is a primary matter in the 19th century to the more recent speculations as to whether computers will enable us to virtually dispense with experimental chemistry.</span>

scholarly journals Lost in Migration – Mirandese at a Crossroads

2019 ◽  
Vol 5 (1) ◽  
pp. 488-495
Author(s):  
Cláudia Martins ◽  
Sérgio Ferreira
Keyword(s):  
Minority Language ◽  
Three Dimensions ◽  
Highly Qualified ◽  
Linguistic Rights ◽  
The Bible ◽  
Literary Forms ◽  
Before And After ◽  
The 1960S ◽  
The One ◽  
The 19Th Century

AbstractThe linguistic rights of Mirandese were enshrined in Portugal in 1999, though its “discovery” dates back to the very end of the 19th century at the hands of Leite de Vasconcellos. For centuries, it was the first or only language spoken by people living in the northeast of Portugal, particularly the district of Miranda do Douro. As a minority language, it has always moved among three dimensions. On the one hand, the need to assert and defend this language and have it acknowledged by the country, which proudly believe(d) in their monolingual history. Unavoidably, this has ensued the action of translation, especially active from the mid of the 20th century onwards, with an emphasis on the translation of the Bible and Portuguese canonical literature, as well as other renowned literary forms (e.g. The Adventures of Asterix). Finally, the third axis lies in migration, either within Portugal or abroad. Between the 1950s and the 1960s, Mirandese people were forced to leave Miranda do Douro and villages in the outskirts in the thousands. They fled not only due to the deeply entrenched poverty, but also the almost complete absence of future prospects, enhanced by the fact that they were regarded as not speaking “good” Portuguese, but rather a “charra” language, and as ignorant backward people. This period coincided with the building of dams on the river Douro and the cultural and linguistic shock that stemmed from this forceful contact, which exacerbated their sense of not belonging and of social shame. Bearing all this in mind, we seek to approach the role that migration played not only in the assertion of Mirandese as a language in its own right, but also in the empowerment of new generations of Mirandese people, highly qualified and politically engaged in the defence of this minority language, some of whom were former migrants. Thus, we aim to depict Mirandese’s political situation before and after the endorsement of the Portuguese Law no. 7/99.

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