KENOTYPES OF BALKAR POETRY AND MECHANISMS OF THEIR FORMATION

Kavkazologiya ◽  
2021 ◽  
pp. 170-180
Author(s):  
K.K. BAUAEV ◽  
Keyword(s):  
National Literature ◽  
Mechanism Of Formation ◽  
The People ◽  
Aesthetic Consciousness ◽  
The Aesthetic ◽  
New Formation

The article highlights an important evolutionary period of national literature – the second half of the 60s – 70s of the last century. The author touches upon the problem of finding promising ways to develop the aesthetic consciousness of the people at the stage of transition from traditional reflective models based on folklore ideas and archetypes of ethnic thinking to the structures of a new formation. It is suggested that the appearance of a special type of images and their transition into cross-cutting symbols, and then into kenotypes, in these years is the result of a purposeful search for stable style-forming constructs in the process of overcoming the boundaries of established apperceptive models. The article identifies two main types of Balkar poetry kenotypes – reformational ones, created on the basis of ethnic archetypes, and autonomous ones, built within the framework of an"intertextual refrain". The author of the article considers the mechanism of formation of kenotypes to be the same for both types, which is convincingly justified by him on the examples of the works of famous Balkar poets -K. Sh. Kuliyev and T. M. Zumakulova.

scholarly journals Manliness and womanliness of national epos heroes in interpretation of Fyodor Buslaev

2019 ◽  
pp. 102-107
Author(s):  
Mikhail V. Novikov ◽  
Tat'yana B. Perfilova
Keyword(s):  
Everyday Life ◽  
National Literature ◽  
Creative Work ◽  
The People ◽  
Rational Distribution ◽  
Conduct Of Life ◽  
Artistic Images ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Vladimir Propp

The problem of interpretation of anthropological artistic images by Fyodor Buslaev is considered in the article; those are presented in monuments of national literature. Tracing sources of origin of the aesthetic ideas in the most ancient forms of language, Fyodor Buslaev made an attempt to explain development of artistic views of the people of antiquity. He connected this long process with infl uence and interaction of many factors – evolution of religious mythological ideas and epic creative work, streamlining of matrimonial relations, more rational distribution of gender and role functions in everyday life, formation of of gender identity idea, origin of moral imperatives. Mythology and folklore gave him an opportunity to highlight changes of female images (from mannish battle-axes to owners of a classical ideal of beauty); the sage explained their aestheticisation with change of female essence criteria ideas and "canons" of female attractivity. Fyodor Buslaev came to a conclusion which was later confi rmed by Vladimir Propp and Aron Gurevich – indicators of external appeal of both women and men were inalienable from ethical estimates by society which considered moral nobility, decent conduct of life of mythical and epic characters.

scholarly journals Love and homophobia in Malawi's spoken-word poetry movement

Africa ◽  
2021 ◽  
Vol 91 (3) ◽  
pp. 361-387
Author(s):  
Harri Englund
Keyword(s):  
Gender Stereotypes ◽  
Gender Relations ◽  
Spoken Word ◽  
The Internet ◽  
Modern Poetry ◽  
Spoken Word Poetry ◽  
The People ◽  
Popular Interest ◽  
The Aesthetic ◽  
Selection Of

AbstractBy the early 2010s, a number of Malawian poets in their twenties had begun to substitute the elliptical expression of earlier generations with a language that resonated with popular idioms. As poetry directed at ‘the people’, its medium is spoken word rather than print, performed to live audiences and distributed through CDs, radio programmes and the internet. Crafted predominantly in Chichewa, the poems also address topics of popular interest. The selection of poetry presented here comes from a female and a male poet, who, unbeknown to each other, prepared poems sharply critical of homosexuality and what they regarded as its foreign and local advocacy. The same poets have also gained success for their love poems, which have depicted intimate desires in remarkably compatible ways for both women and men. The poets who performed ‘homophobic’ verse went against popular gender stereotypes in their depictions of romantic love and female and male desires. This introductory essay, as a contribution toAfrica's Local Intellectuals series, discusses the aesthetic challenges that the new poets have launched in the context of Malawi's modern poetry. With regard to gender relations in their love poems, the introduction also considers the poets’ possible countercultural contribution despite their avowed commitment to perform for ‘the people’.

scholarly journals Features of translation into Uigur languageof children's fairy tale "Shuburshun" by A. Karlyukevich

Keruen ◽  
2020 ◽  
Vol 3 (68) ◽  
Author(s):  
A.T. Khamraev ◽  
Keyword(s):  
Fairy Tale ◽  
Literary Translation ◽  
Reverse Effect ◽  
Dominant Feature ◽  
Aesthetic Consciousness ◽  
The Aesthetic

“Shuburshun” is the work of the Belarusian writer A. Karlyukevich and its figuratively and metaphorically is replete with an abundance of tropes with elements of national irony. The text is structurally complex, spiritually rich and elegant. The translator was able to show in translation the national color, spirit and ideal of the fairy tale, he felt the literary world behind the text that inspired the author and sought to recreate it in a holistic way. A significant amount of literary and aesthetic information is encoded in the work as well. Moreover, some words, in particular: “Shuburshun”, “Svisloch’”, etc., appear as the dominant units of the Uighur text. Authors lexemes and glossaries “entered” into the Uyghur text make the work mysterious, because of it they have a reverse effect. The Uygur translation of “Shuburshun” as a new independent aesthetic phenomenon, due to the interpenetration of various contents and forms, is experiencing internal implicit conjugation changes that rigidly interlink textual connections at a new level. This is how the principles of aesthetic interferences work and interact in any literary translation that acts as the dominant feature of bicultural aesthetics. It is about the emergence of a “different”literary and aesthetic reality in translation. In particular, we are witnessing an objective process of “entering” (or “invasion”) of Belarusian words into the Uyghur text, which affect the aesthetic consciousness of the reader.

scholarly journals Zalacca Based Food Industry Development in Karang Asem District Bali Province

2020 ◽  
Vol 4 (1) ◽  
pp. 38-45
Author(s):  
I Gusti Bagus Udayana ◽  
Ni Made Defy Janurianti ◽  
AA Mayun Wirajaya ◽  
Made Yuliartini ◽  
Luh Kartini ◽  
...  
Keyword(s):  
Food Industry ◽  
Raw Materials ◽  
Added Value ◽  
Analysis Methodology ◽  
The People ◽  
Food And Beverage ◽  
Distribution Process ◽  
Hierarchy Analysis ◽  
The Aesthetic ◽  
High Yields

The food industry is one of the industries that is growing very rapidly throughout the world, including in Indonesia. Various types of food and beverages with an attractive appearance continue to be produced to increase the aesthetic value and attractiveness of consumers. Food and beverage production processes include the selection of raw materials, food and beverage processing, food and beverage quality testing, packaging to the food and beverage distribution process. Every process that takes place must be controlled so that the final product produced is safe and suitable for consumption by consumers. Zalacca production in Karangasem Regency is very good to be developed into the useful food industry. The development of the zalacca-based food industry can increase added value for the people and zalacca commodities. The results of the study using the Process Hierarchy Analysis methodology show that Chips, Syrups, and Extracts occupy high yields to be developed.

scholarly journals The Beliefs and Aesthetics of Isaan Heritage Trees

2021 ◽  
Vol 10 (3) ◽  
pp. 158
Author(s):  
Surasak Sornsena ◽  
Preechawut Apirating ◽  
Sipp Suksamran
Keyword(s):  
Descriptive Analysis ◽  
Structured Interviews ◽  
The People ◽  
Study Results ◽  
And Gender ◽  
The Aesthetic ◽  
Surrounding Areas ◽  
Art Elements ◽  
Heritage Trees ◽  
Heritage Tree

This article is a part of a Doctoral Thesis titled “Isaan Heritage Tree: From the Belief and the Aesthetic to the Creation of Visual Arts,” with the objectives of studying the belief and the aesthetic that exist in the Isaan Heritage Tree using the qualitative method. The study’s target groups can be divided into three following groups: the experts, the practitioners, and the related people. The area of study is in the Isaan region. The region is divided into upper Isaan, mid-Isaan, and lower Isaan. The research tools consist of surveys, non-participatory observation, and structured and non-structured interviews. The data collected from documents and field data was analyzed using Aesthetic Theory and Symbolic Interactionism Theory and presented using descriptive analysis.  The study results show that Isaan has a long history and development both in geography, the administration, society, the culture, and the migration of people who came to settle in the area from Luang Phrabang, Vientiane, and Champasak. This had caused the people and nation’s coming together and led to social management, which consists of regulations, religion, and belief. The beliefs of the Isaan people are connected to forest spirits, household spirits, or tree spirits. Five following characteristics of the Heritage Trees were also found: 1) The traditional beliefs related to the Heritage Trees of Isaan. 2) The new belief. 3) The beliefs that are connected to the locations. 4) The beliefs in the tree spirits whose identity and gender cannot be identified. 5) Auspicious and inauspicious beliefs. There are three aspects for the aesthetics: Aesthetic elements are the feeling of amazement due to the gigantic size filled with astonishment, mystery, and the fear of power. The interesting aspects of Art elements are the unity and relationship to the seasons, such as the Fall season, Rainy Season, and the blooming of flowers that contribute to the changes in the aesthetics changes. The visual art elements consist of six following components; bodies and shapes, lines, colors, textures, light and shadows, and area. It was found that the gigantic size and height cause amazements to the viewers. The physical lines of the Isaan Heritage trees were the lines along the trunks, the lines on the branches, and the lines that go along the leaves and flowers. There are different colors of the trunk, the leaves, and the flowers. The texture was rough, harsh, and the cracks follow the same directions as the trunk. There are botanical differences in the light and shadows of the heritage trees. As for the area, there are differences between the area of the heritage trees and the surrounding areas, as well as the differences within the Isaan Heritage Trees area.   Received: 25 January 2021 / Accepted: 31 March 2021 / Published: 10 May 2021

CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE

2021 ◽  
pp. 127-138
Author(s):  
Galina S. Gultyaeva ◽  
Keyword(s):  
20Th Century ◽  
Filial Piety ◽  
Chinese Society ◽  
Classical Literature ◽  
Graphic Art ◽  
Political Processes ◽  
The People ◽  
Metaphoric Language ◽  
Academic Painting ◽  
The Aesthetic

Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.

Aesthetics of Globalization in Daya Pawar’s Baluta: Reflexivity and Social Change in Critical Perspective

2020 ◽  
Vol 12 (1) ◽  
pp. 71-81
Author(s):  
Peter Ndambiri Murage ◽  
Justus K. S. Makokha
Keyword(s):  
Social Change ◽  
Social Position ◽  
Economic Empowerment ◽  
Social Changes ◽  
Critical Perspective ◽  
The People ◽  
The Aesthetic ◽  
The Individual ◽  
Lower Castes ◽  
Point Of Intersection

This article seeks to discuss the point of intersection between globalization and localization. The study is aimed at discussing the effects of globalization on the lives and the characters exposed in Daya Pawar’s powerful book Baluta (translated in English under the same title in 2015 by Jerry Pinto). The characters, who are otherwise well rooted in the traditions practised in their localities, are forced to adapt to the strong waves of change occasioned by modernity. Globalization has occasioned migrants to settle in the localities of Kawakhana and the neighbouring regions. Consequently, popular social joints have sprung up in these localities, prompting the lives of characters to change drastically. Social vices such as betting, alcoholism and prostitution have risen drastically with the increase in clubs, betting dens and brothels. The individual lives of the dwellers of Kawakhana have deteriorated with increased modernization and urbanization. On the brighter side, modern schools have become more popular, with the parents seeing the need of taking their children to school. This element of social change has resulted to the emancipation of the people in the lower castes—the Mahar. Through education, the children of the Mahar have gained economic empowerment, enabling them to break the yoke of tradition that has relegated them to the inferior social position. It is in light of these drastic social changes that this article seeks to explore the aesthetic manifestation of globality, reflexivity and social change.

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