scholarly journals Performing schools and tutorial methods in the epic art of bagshy-dessanchy

2021 ◽  
pp. 71-83
Author(s):  
М.К. Курбанов ◽  
Д.А. Курбанова
Keyword(s):  
Comparative Analysis ◽  
Oral Tradition ◽  
Huge Number ◽  
Local Schools ◽  
Personal Archives ◽  
Younger Generation ◽  
Special Studies ◽  
First Time ◽  
Stylistic Diversity

Искусство туркменских бахши-дестанчи имеет древние истоки и отличается жанровым богатством и стилевым разнообразием. Эпическое наследие туркмен в достаточной степени изучено филологами, этнографами, однако специальных исследований, раскрывающих природу сохранения изустной традиции и описывающих методы передачи эпических жанров из поколения в поколение в Туркменистане, до сих пор нет. Цель статьи – описать бытующие школы эпического сказительства, выявить их жанровые, исполнительские особенности, сохранившиеся в искусстве бахши-дестанчи традиции наставничества, а также охарактеризовать методы, позволяющие сказителям хранить в памяти огромное количество эпических песен и текстов. Для решения намеченных целей были осуществлены следующие задачи: проанализированы эпические жанры различных локальных школ; проведен сравнительный анализ исполнения эпоса одним и тем же сказителем в различные периоды времени, а также наставника и его учеников; определены факторы, влияющие на изменение дестанов. В качестве методологической базы использованы труды А. Лорда, В. В. Бартольда, В. М. Жирмунского, В. Я. Проппа, Е. Э. Бертельса, Б. Н. Путилова, К. Райхла. Источниками для анализа послужили образцы эпического наследия из аудио фонда Туркменской национальной консерватории, а также полевые аудио/видео материалы из личного архива авторов. Впервые в статье в качестве жанров эпических сказителей рассматриваются не только традиционные эпосы и дестаны, но и жанр легенды с музыкой, а также излюбленные в народе музыкально-поэтические транскрипции произведений поэтов-классиков. Проведенные исследования позволили выявить формообразующую роль песен и их функции, осуществляющие развитие музыкальной драматургии в дестанах. Впервые в работе выявлены «песни-маяки», составляющие каркас эпического сказания и способствующие запоминанию повествования в памяти народных сказителей. Незакреплённость песенных мотивов к текстам, а также использование в песнях мелодий-тем (музыкальных напевов, характерных для конкретных локальных школ) определяет особенности туркменского дестанного исполнительства. Учитывая тенденцию к ослабеванию интереса молодого поколения к древней традиции, изучение методов преемственности, используемых в процессе сохранения традиции устного наследия, представляется своевременным и актуальным. The art of Turkmen bagshy-dessanchy (epictellers) is ancient and distinguished by its genre richness and stylistic diversity. The epic heritage of Turkmens has been sufficiently studied by philologists and ethnographers, but there are no special studies in Turkmenistan revealing the nature of the oral tradition preservation and the methods of transmitting epic genres from generation to generation. The purpose of the article was to reveal the genre and performing features of the schools of epic epic-telling in Turkmenistan, describe the traditions of mentoring that have survived in the art of bagshy-dessanchy, and identify methods that allow Turkmen storytellers to keep in memory a huge number of songs and texts. To solve these goals, the following tasks were carried out: the epic legends of various local schools were analyzed; a comparative analysis of the performance of the epic by the same narrator in different periods of time was carried out; revealed differences in the performance of the same legend by the mentor and his students; the factors and means influencing the change of destans have been determined. The works of A. Lord, V. Barthold, V. Zhirmunsky, V. Propp, E. Bertels, B. Putilov, K. Reichl were used in the article as a methodological base. The sources for the analysis were samples of the epic heritage from the Fund of audio materials of the Turkmen National Conservatory, as well as field audio-, videomaterials from the authors’ personal archives. In the article, for the first time, not only epic cycles and destans, but also the genre of legend with music, as well as poetic transcriptions of the classical poet’s works were considered as the main genres of bagshy-destanchy. The studies helped to identify the formative role of epic songs and their important functions, thanks to which the development of the musical dramaturgy in epic genres was carried out. For the first time, we identified the beacon songs, that make up the frame of Turkmen epic works, thanks to which the epic text remembering in the memory of bagshy-dessanchy. The looseness of song motifs with texts, using the theme-melodies (musical tunes, which characteristic of specific local schools) in epic songs showed the particularities of Turkmen destan performance. Taking into account the tendency towards a gradual weakening of the interest of the younger generation in the ancient tradition, the identification of the methods used in the process of preserving the oral epic heritage is highly relevant.

Comparative analysis of the effect of epibrassinolide and 6-benzylaminopurine on the key components of the glutathione complex in the roots of wheat seedling under salinity.

Biomics ◽  
2021 ◽  
Vol 13 (1) ◽  
pp. 20-26
Author(s):  
D.R. Maslennikova ◽  
F.M. Shakirova
Keyword(s):  
Comparative Analysis ◽  
Wheat Seedling ◽  
Glutathione System ◽  
Glutathione S Transferase ◽  
Wheat Seedlings ◽  
Comparable Level ◽  
Endogenous Cytokinins ◽  
Main Components ◽  
First Time

The study carried out a comparative analysis of the effect of 24 epibrassinolide (EB) and 6-benzylaminopurine (BAP) on the growth and state of the main components of the glutathione system in the roots of wheat seedlings under the action of 2% NaCl, which for the first time revealed the ability of these phytohormones to similarly stabilize stress-induced decrease GSH / GSSG ratio, positively regulate the activity of glutathione reductase and glutathione-S-transferase. A comparable level of protective effect of BAP and EB on root length was revealed. The data obtained indicate that endogenous cytokinins may play the role of hormonal intermediates in the implementation of the protective.

scholarly journals Prilog poznavanju djelovanja Mateja Andrijina Moronzona*

Ars Adriatica ◽  
2016 ◽  
pp. 103
Author(s):  
Barbara Španjol-Pandelo
Keyword(s):  
Comparative Analysis ◽  
Virgin Mary ◽  
Main Role ◽  
Huge Number ◽  
General Acceptance ◽  
Parish Church ◽  
Archival Documents ◽  
First Time ◽  
Selection Of

Matteo Moronzon, a member of the Venetian family of woodcarvers, was mentioned for the first time in 1407 according to the present known archival documents. Probably after being trained in his father's workshop in Venice, he moved to Zadar with his family – his wife Francisca and sons Pietro and Francesco. In 1418 he undertook the commission of furnishing carved choir stalls for the cathedral of St. Anastasia in Zadar. Various archival documents testify that Matteo lived and worked in Zadar for many years. Therefore it can be assumed that he probably founded his own workshop in Zadar where his son Francesco was trained too. Apart from the attempt to reconstruct Matteo's life and career, the aim of this paper is to interpret one important woodcarving work of art preserved in situ: choir stalls in the former cathedral of Rab, today the arch parish church of the Assumption of the Blessed Virgin Mary in Rab. Without doubt Matteo was the master carver in the production of the choir stalls in Zadar. Since he lived in Zadar it was not unusual that he had the main role in carving the stalls. In Zadar the selection of motives is more balanced and there are no significant differences in the modelling of decorative elements. However, the question whether Matteo carved absolutely everything or he had assistants arises. Considering the amount of work that had to be done it must be assumed that he had assistants who participated in work and helped him to shape the stalls. However, in literature Matteo was considered the only and undisputed author of the choir stalls in Zadar, mostly because of the preserved document. The analysis of the choir stalls in Rab by Ivo Petricioli as well as their evident formal and stylistic similarities with the stalls from the cathedral in Zadar have led to the general acceptance of the hypothesis that they were carved at the workshop of Matteo Moronzon. However, a comprehensive comparative analysis that could confirm that hypothesis was still missing. The analysis of the details and the whole led to the overall conclusion that there were a huge number of similarities between the choir stalls in Rab and Zadar. Therefore it was concluded that Matteo was the principal designer of the choir stalls in Rab who also carved the best parts in Rab, while others, less successful parts, were made by his apprentices and assistants who at the time lived on the island of Rab. In this respect, if Matteo was accepted as the author of the choir stalls of the cathedral in Zadar he must also be accepted as the author of the choir stalls from the excathedral in Rab.

scholarly journals Motet “Jesu, Meine Freude” by Johann Sebastian Bach: Comparative Analysis of Editions of Musical Text

2021 ◽  
pp. 167-181
Author(s):  
Dmytro Savon
Keyword(s):  
Comparative Analysis ◽  
Johann Sebastian Bach ◽  
Historical Reconstruction ◽  
The Third ◽  
Choral Repertoire ◽  
History Of ◽  
Baroque Era ◽  
The One ◽  
First Time

Relevance and scientific novelty of the selected subject for the research. In the Ukrainian musicology, the motets written by Johann Bach were mainly studied from the compositional means standpoint, considering the system of polyphony, the role of chorale and fugue in dramaturgy as well as the composition of works. Scientists have not previously researched the motets performance specificity. Meanwhile, motets, particularly the one reviewed in the article “Jesu, meine Freude”, are among the most frequently performed works of the choral repertoire. For the first time in the Ukrainian musicology, three edited versions of the motet “Jesu, meine Freude” are analyzed from the standpoint of historically oriented performance. Based on the study of editors’ comments and source literature (mostly German), the question of compliance of the musical text with the task of performing reconstruction of the baroque vocal and choral style was studied. The aim of the article lies in the need to find out specificity of the editors’ interpretation of motet “Jesu, meine Freude” written by Johann Bach and suitability extent of different edited versions for the historical reconstruction of the vocal-choral style of the German Baroque. During the development of particular article, such methods were utilized: historical — the history of edited versions of “Jesu, meine Freude” motet was traced, comparative — the comparative analysis of three edited versions of motet “Jesu, meine Freude” written by Johann Bach (Franz Wulner, Konrad Ameln and Mykhailo Berdennykov) was completed. Main results and conclusions. According to the completed comparative analysis, the first two of the three considered edited versions are textual, while the third one is adopted for performing. Textual versions are characterized by the preservation of the composer’s text in the smallest details, including comments to clearly identify the extent of changes made by the editor in the text. The peculiarities of the version adopted for performing contain the large amount of remarks added by the editor, covering dynamic shades, strokes, tempo notation, etc. It is noted that the choice of version type is determined by performance goals: to perform the works of Johann Bach in an authentic manner, the conductor should focus on facsimile versions, and if they are absent (as in the case of the “Jesu, meine Freude” motet), the one should use textual type of edited versions. The version developed for performing cannot correspond to the authentic performing, as the first does not reflect specific tendencies of the time when it was created. It is specified that the conductor should be familiar with the peculiarities of fixing the means of performance in the musical text of the Baroque era.

О двух сборниках обрамленных рассказов «Волшебного мертвеца»

2020 ◽  
pp. 166-182
Author(s):  
Baazr A. Bicheev ◽  
◽  
Danbuer Jiafu ◽  
Keyword(s):  
Comparative Analysis ◽  
Oral Tradition ◽  
First Time

The oral series of framed stories that developed on the basis of the literary collection “The Magic Dead” are well-known in the oral tradition of Oirats in China and Kalmyks in Russia. However, the Kalmyk collection of framed stories of the Kalmyk story-teller M. Burinov has been in the focus of Mongolian Studies research several times, whereas the collection of framed stories of Oirat story-teller O. Bayaka has been unavailable to local researchers until recently. The information about the recording, publication and the content of the Sinkiang version of the oral series of the framed stories is given in the article for the first time. The comparative analysis of the plot in the Sikiang and Kalmyk versions enables us to conclude that the first version as well as the second version emerged from the written version of the collection of framed stories “The Magic Dead”.

scholarly journals A Balancing Act? Inter-Ministerial Co-operation in the Work of the Cultural Attachés

2021 ◽  
pp. 1-26
Author(s):  
Dimitra Kizlari ◽  
Domenico Valenza
Keyword(s):  
Foreign Policy ◽  
Comparative Analysis ◽  
The Netherlands ◽  
Cultural Diplomacy ◽  
Foreign Affairs ◽  
Sharp Rise ◽  
Scholarly Research ◽  
The Subject ◽  
First Time

Summary To date, the role of cultural attachés in foreign policy has not been the subject of scholarly research, despite the sharp rise in interest in the field of cultural diplomacy. The present study is a comparative analysis seeking to map the ecosystem in which cultural attachés are embedded with the aim to develop a first-time narrative about their role. Interviews with practitioners from Italy, The Netherlands and Sweden indicate that the post of the cultural attaché is a field of responsibility primarily for two state actors. The Ministry of Foreign Affairs and the Ministry of Culture both have a vested interest in the work of these cultural operators. The findings suggest that there are two distinct organisational models in how Ministries of Foreign Affairs and Ministries of Culture co-exist and interact.

scholarly journals The essence оf the Christian dogma by Erich Fromm

2015 ◽  
pp. 116-126
Author(s):  
N. B. Buriak
Keyword(s):  
Comparative Analysis ◽  
Old Testament ◽  
Historical Evolution ◽  
Erich Fromm ◽  
Complex Issue ◽  
Man And Nature ◽  
Evolution Of Ideas ◽  
Almost All ◽  
First Time

The essence оf the Christian dogma by Erich Fromm. In the article is widely considered the dynamics of religious beliefs Erich Fromm. For the first time a comparative analysis of all Fromm’s work relating to the theme of religion. Fromm devoted to the search itself and society in faith quite a lot of time because such research is very important and requires a recess in the nature of some of the world’s religions, including Christianity. Questions and countermeasures manifestations of humanism and authoritarian Christianity, its historical evolution and ideals throw a kind of challenge to the outstanding philosopher, and forced him to work on this complex issue almost all his life. Dogma Erich Fromm developed so that initially there was an idea of the man who became God, and turned on the idea of God became man. The concept of the Old Testament prophets world extend beyond relationships between people, harmony should prevail between man and nature. Peace between man and nature is harmony between them. Erich Fromm permanently broke with Judaism in ‘26 and has since considered himself a Christian. But Christianity Fromm, his understanding of God, the role of Christ in history, the interpretation of the evolution of ideas and Savior is surprising for its boldness.

Preposition Repetition in Phrases with Homogeneous Parts of a Sentence in Business Texts of the 18th Century

2020 ◽  
Vol 1 (8) ◽  
pp. 171-184
Author(s):  
A. S. Ulitova
Keyword(s):  
Comparative Analysis ◽  
Russian Language ◽  
Decisive Factor ◽  
History Of ◽  
Language Norms ◽  
Different Origins ◽  
First Time

The question of dialect differences in the use of homogeneous parts of a sentence and prepositions in business texts of the 18th century is considered. Attention is paid to the factors that influenced the preposition repetition in such groups. The results of comparative analysis of peripheral (in particular, Chelyabinsk) and Moscow business texts of the 18th century are presented. The question is raised whether the syntactic role of words in the group under study affected the preposition repetition. Special attention is paid to the duplication of the preposition in a number of stable expressions typical for the business usage of the 18th century. For the first time, the task is to identify differences in the use of repeated prepositions in business texts that relate to different territories. The relevance of the research is due to the fact that it draws readers’ attention to a new aspect in the history of the formation of Russian language norms. It is proved that in the business texts of the 18th century, which have different origins, territorial affiliation was not a decisive factor. The author points out that along with the place where the document was written, the author’s preferences, the functioning of prepositions in formula expressions, the syntactic role of homogeneous members, and the genre of the document may have influenced the duplication of the preposition.

Imperial Talismanic Love: Ibn Turka’s Debate of Feast and Fight (1426) as Philosophical Romance and Lettrist Mirror for Timurid Princes

Der Islam ◽  
2019 ◽  
Vol 96 (1) ◽  
pp. 42-86
Author(s):  
Matthew Melvin-Koushki
Keyword(s):  
Comparative Analysis ◽  
The Other ◽  
Muslim World ◽  
Arabic Literature ◽  
14Th Century ◽  
Ibn Khaldun ◽  
Imperial Culture ◽  
The One ◽  
First Time

Abstract This study presents and intellectual- and literary-historically contextualizes a remarkable but as yet unpublished treatise by Ibn Turka (d. 1432), foremost occult philosopher of Timurid Iran: the Munāẓara-yi bazm u razm. As its title indicates, this ornate Persian work, written in 1426 in Herat for the Timurid prince-calligrapher Bāysunghur (d. 1433), takes the form of a literary debate, a venerable Arabo-Persian genre that exploded in popularity in the post-Mongol period. Yet it triply transgresses the bounds of its genre, and doubly marries Arabic-Mamluk literary and imperial culture to Persian-Timurid. For here Ibn Turka recasts the munāẓara as philosophical romance and the philosophical romance as mirror for princes, imperializing the razm u bazm and sword vs. pen tropes within an expressly lettrist framework, making explicit the logic of the coincidentia oppositorum (majmaʿ al-aḍdād) long implicit in the genre in order to ideologically weaponize it. For the first time in the centuries-old Arabo-Persian munāẓara tradition, that is, wherein such debates were often rhetorically but never theoretically resolved, Ibn Turka marries multiple opposites in a manner clearly meant to be instructive to his Timurid royal patron: he is to perform the role of Emperor Love (sulṭān ʿishq), transcendent of all political-legal dualities, avatar of the divine names the Manifest (al-ẓāhir) and the Occult (al-bāṭin). This lettrist mirror for Timurid princes is thus not simply unprecedented in Persian or indeed Arabic literature, a typical expression of the ornate literary panache and genre-hybridizing proclivities of Mamluk-Timurid-Ottoman scientists of letters, and index of the burgeoning of Ibn ʿArabian-Būnian lettrism in late Mamluk Cairo; it also serves as key to Timurid universalist imperial ideology itself in its formative phase – and consciously epitomizes the principle of contradiction driving Islamicate civilization as a whole. To show the striking extent to which this munāẓara departs from precedent, I provide a brief overview of the sword vs. pen subset of that genre; I then examine our text’s specific political-philosophical and sociocultural contexts, with attention to Naṣīr al-Dīn Ṭūsī’s (d. 1274) Akhlāq-i Nāṣirī and Jalāl al-Dīn Davānī’s (d. 1502) Akhlāq-i Jalālī on the one hand – which seminal Persian mirrors for princes assert, crucially, the ontological-political primacy of love over justice – and the Ẓafarnāma of Sharaf al-Dīn Yazdī (d. 1454), Ibn Turka’s student and friend, on the other. In the latter, much-imitated history Amir Temür (r. 1370‒1405) was definitively transformed, on the basis of astrological and lettrist proofs, into the supreme Lord of Conjunction (ṣāḥib-qirān); most notably, there Yazdī theorizes the Muslim world conqueror as historical manifestation of the coincidentia oppositorum – precisely the project of Ibn Turka in his Debate of Feast and Fight. But these two ideologues of Timurid universal imperialism and leading members of the New Brethren of Purity network only became such in Mamluk Cairo, where lettrism (ʿilm al-ḥurūf) was first sanctified, de-esotericized and adabized; I accordingly invoke the overtly occultist-neopythagoreanizing ethos specific to the Mamluk capital by the late 14th century, especially that propagated at the court of Barqūq (r. 1382‒1399). For it is this Cairene ethos, I argue, that is epitomized by our persophone lettrist’s munāẓara, which it effectively timuridizes. To demonstrate the robustness of this Mamluk-Timurid ideological-literary continuity, I situate the Munāẓara-yi bazm u razm within Ibn Turka’s own oeuvre and imperial ideological program, successively developed for the Timurid rulers Iskandar Sulṭān (r. 1409‒1414), Shāhrukh (r. 1409‒1447) and Ulugh Beg (r. 1409‒1449); marshal three contemporary instances of the sword vs. pen munāẓara, one Timurid and two Mamluk, by the theologian Sayyid Sharīf Jurjānī (d. 1413), the secretary-encyclopedist Aḥmad al-Qalqashandī (d. 1418) and the historian Ibn Khaldūn (d. 1406), respectively; and provide an abridged translation of Ibn Turka’s offering as basis for comparative analysis.

scholarly journals Christmas tales of H. C. Andersen “The Fir Tree” and A. I. Kuprin “The Life” in historical-literary dialogue

Litera ◽  
2020 ◽  
pp. 68-78
Author(s):  
Marina Anatol'evna Zhirkova
Keyword(s):  
Comparative Analysis ◽  
Common Elements ◽  
Affirmation Of Life ◽  
First Time

This article presents a comparative analysis of the tales of H. C. Andersen “The Fir-Tree” and A. I. Kuprin “The Life. Both tales are based on the theme of Christmas, which celebration becomes the culmination in life of a fir tree; as well as have common elements – description of the life of trees in the forest, gathering of people, Christmas festivities. Tale by the Danish writer moves towards death, demise of the tree that can be considered as punishment for indifference and ambitiousness, inability to find joy in what is given by life. Kuprin’s story contradicts Andersen’s tradition, demonstrating a markedly different writer’s position – affirmation of life in contrast to death. Attention is focused on not only the plot, but also genre peculiarities of each composition. Tales are allegorical, they can be called the philosophical tales-parables, urging the reader to reasoning on their own life. The scientific novelty consists in the fact that the text of A. I. Kuprin’s tale is being analyzed for the first time. It is viewed in related to the tradition set by Andersen’s tales, as a Christmas text. The article also determine the role of the late among the works of the writer.

scholarly journals Myroslav Skoryk's opera "Moses" based on a poem by Ivan Franko as a narrative of the classical-romantic ideal

2021 ◽  
pp. 262-266
Author(s):  
Viktor Stepurko
Keyword(s):  
Comparative Analysis ◽  
Modern Society ◽  
Point Of View ◽  
Narrative Discourse ◽  
Ethical Orientation ◽  
Artistic Development ◽  
Poetic Imagery ◽  
First Time ◽  
The Ideal

The purpose of the article is to explore the main narratives of Myroslav Skoryk's opera "Moses" based on the poem by Ivan Franko, from the point of view of the classical-romantic aesthetic platform of the struggle for the ideal. The crisis of modern society motivates the composer to fulfill the role of the Guide, which requires urgent changes in the vector of artistic development in the direction of highly spiritual philosophical, and ethical orientation. The methodology is to consider the psychological narrative of the romantic creative orientation of I. Franko (R. Golod), to analyze modern problems of opera in Ukraine (I. Gamkalo), to use comparative analysis of epoch-making problems in Ukraine of early XX - XXI centuries and to compare egalitarian and elitist understanding the orientation of the work of M. Skoryk (L. Kiyanovska). The scientific novelty of the approaches is related to the consideration of the composer's narrative discourse as an appeal to the generalized intonation and figurative symbolism of musical stylistics, rather than the stylization of certain historical or ethnic components. For the first time, M. Skoryk's opera "Moses" was considered as a work that foretells a difficult path to freedom, prosperity, and happiness. Conclusions. The work expresses a narrative focus on the synthesis of the classical-romantic compositional-formative construct with a generalized-symbolic "timeless" understanding of philosophical and poetic imagery. In this context, the church's monodic trichord or appeal to the figurative sphere of M. Lysenko's vocal works express narratives of turning to God and the idea of the dream homeland, which ultimately forms a personal mythological space of existence.

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