NAPOLEON, THE MAIN CHARACTER IN GEORGE ORWELL’S ANIMAL FARM, AS THE SYMBOL OF STALIN (A STUDY IN SEMIOTIC APPROACH)

Literary work, such as a novel, is an imitation of the facts that it can be analyzedin symbol that can show how the facts enter in it. Semiotic is one approach thatcan be used to analyze how the symbol works in a literary work. This study is toexplain on how Orwell portrays Napoleon in his Animal farm, to explain on howStalin is, and to explain the aspects that Napoleon symbolizes Stalin in Orwell’sAnimal Farm. The data, which is analyzed in terms of semiotic analysis, isselected into the symbol of Napoleon because this central character has a bigpart of the story. The researcher thinks that Orwell reflects this character toanimal which has a hidden purpose and considers that animal relates to personswhich the story is made. There are three problems to discuss, namely (1) whatare Napoleon’s traits? (2) What are Stalin’s traits? (3) What aspects doesNapoleon symbolize Stalin? The results show that the symbol of pig (Napoleon)has many special traits such as leaderships, intelligence, and unique characterand so Joseph Stalin (the actor of Russian revolution), which people describedhim having his own traits. Both of them have correlation in political, economic, and social and cultural aspect

The Refined Image of the Oriental in Browning’s Two Victorian Plays: A Psychoanalytic Reading

The purpose of this paper is to examine the way in which Robert Browning dissociates himself from the predominant Orientalist mode that viewed the Orient as a zone for exoticism. Despite his misconception of the Orient, there are bright aspects in his plays which can be described as a kind of reverence and respect. The study is a psychoanalytic reading of the oppressed Oriental who tries to assimilate, yet he fails. Consequently, psychological problems such as alienation that results from racial prejudice, a damaged self-esteem, and suicidal thoughts develop. At the same time, the study examines betrayal. In other words, the characters surrounding the central character allow Browning to construe the loyalty of the protagonist and the reversal involved in betrayal as stoically accepted. Luria: A Tragedy (1846) and The Return of the Druses (1843) are two Victorian plays to be explored in this study drawing on Frantz Fanon’s psychoanalytic criticism.

Psychopathy as a Modus of Human Destructiveness in the Literary and Philosophical Reflection of Postmodernity (Based on the Novels "A Clockwork Orange" by A. Burgess and "The Wasp Factory" by I. Banks)

The sociopolitical circumstances of people's lives are constantly changing, which is studied by science, philosophy and art. The twentieth century is a time of great upheavals that changed the approach to the concept of man and the field of his existence. Philosophers of the second half of the twentieth century pay attention to the destructive nature of state power, its institutions are interpreted as suppressing freedom and consolidating violence as an ideology (the Frankfurt School, J. Baudrillard, S. Zizek, etc.). Another important concept is the interpretation of destructive impulses as a normal component of a person (J. Bataille, Z. Freud, E. Fromm, J. Deleuze, etc.). This idea creates a pattern of behavior that is considered psychopathic in the article. Psychopathy is a genetically determined type of antisocial personality. The phenomenon of psychopathy is a subject not only of scientific study, but also of art: the psychopath became a central character in many works of literature and cinema in the second half of the twentieth century. The article analyzes the novels "A Clockwork Orange" by E. Burgess (1962) and "The Wasp Factory" by I. Banks (1984), where the main characters are teenage psychopaths. The article concludes that these works complement each other, exploring two main areas of human life (the world of the state and the world of the family). It is suggested that by referring to the psychopathic hero, writers describe the changes that take place in society, these changes are also analyzed by philosophers. The fact that psychopathic traits in novels are concentrated in the images of teenagers indicates the possibility of psychopathy developing and spreading in the future.

The study of the archaic round dances dramaturgy from the spring cycle

The relevance of the study is determined by the need to find clarification of the interpretation of the primary symbolism of some dance ornaments and movements. This will help to focus the choreographers’ attention on the competent use and interpretation of symbols in the dance dramaturgy. The purpose of this study is to analyze the archaic motifs in the dramaturgy of the spring cycle dances on the cycle example of round dances “Podolianochka” to explain their primary sign content. The methodology. The article analyzes the dramaturgy of the archaic spring rites on the cycle example of round dances “Podolianochka”, which are united by a plot and choreographic features. The archaic origins sources of the choreographic staging of these ritual actions are traced and systematized. The components of mythological, calendar-ritual and initiating origins of such a rite are considered. The results. The main character origin as a sun reflection in the spring flood (in the Danube) is formulated on the basis of a common feature — “white face” and others. The initiation of “Podolianochka-Bilodanchyk” leads to the Lela-spring birth. Choreographic elements that contribute to the success of the magical ritual and accompany the events course are considered: jumps — for the successful initiation, marriage and promoting plant growth, running — to increase fertility. It is shown that the schemes of movement in these round dances ensure the involvement of all girls in the role of the central character, as well as create magical symbols similar to Easter painting: sun-bird, meander, “thunderbolt”. It is proved that from the view of magical point the round dance plays the role of rosaries, the grains of which are taken one by one, and to each of them the gods’ glorification is pronounced. The novelty of this study is to clarify the ideological basis of the main character origin of the dance “Podolianochka-Bilodanchyk”, in the interpretation of choreographic patterns as symbols similar to Easter painting, the analogy between the touching of rosaries and mandatory participation in the role of the central character of all girls. The practical significance of this study is the selection of meaningful lines of round dance dramaturgy: 1) choreographic staging of events with grain and sorcery for the harvest; 2) girls’ initiation before the marriage period; 3) choreographic staging of events from the gods’ life and consecration of human actions. This allows you to more fully reconstruct both individual movements and the round dance dramaturgy as a whole in practice.

BARCAROLE PRINCIPLE IN A GENRE-COMPOSITIONAL ORGANIZATION OF “BERESTECHKO” BY LINA KOSTENKO

The paper deals with a historical novel in verse by the celebrated modern Ukrainian writer Lina Kostenko, for the first time analyzing it totally in a synesthetic way — through the component of musicality (namely barcarole principle of poetic creativity). The folklore origins of barcarole in the world culture have been traced, as well as the peculiarities of the absorption of the genre by professional music and literature, especially Ukrainian. Formation of the genre in the creative work of the author of “Berestechko”, who is the poet of a special musical feeling, deserves special attention. Barcarole is one of the forms of modernity in the creative thinking of Lina Kostenko; it is a natural writer’s way of perceiving reality and transforming it into an aesthetic system of artistic work (both in poems and the novel in verse). Being inclined to poetically adopt chamber and solo musical genres, the poetess creates a special voice polyphony in “Berestechko”, where each sense construct of a modern unity, i. e. novel lyric epos and barcarole, sounds both separately and complementarily, and the part of a protagonist merges into “I” of a speaker. The compositional function of barcarole in “Berestechko” is the modeling of a central character of the text. It is hetman Bohdan Khmelnytskyi, spiritually undermined by the recent defeat. The barcarole elements are used for constructing the author’s version of this failure and its consequences, which spread around Ukraine as circles on water; absorbing a soothing rhythm of a song, which can cure the soul with love; shaping the architectonics of the text in the form of 'splashes'-'circles' with poly-functional titles and subtexts. In the genre structure of the novel, barcarole is essential both in the development of the theme and its stylistic implementation. In the unity of the work, one may notice “prelude”, the main part, and “postlude”, each part with its artistic sense. The images typical for a barcarole — water, boat, song, woman, love, etc. — are designed in accordance with the agrarian microcosm of the main character and its symbolic senses. Time flow, self-immersion, and love do not only spiritually heal hetman Bohdan Khmelnytskyi, but give his life a direction and endow his figure with grandeur. The neoromantic potential of barcarole and the novel in verse correspond well and join in the final coda about the unshakable courage and heroism of the Ukrainian warriors.

A Critical Inquiry into the Character Strengths of Alexandra Bergman in Willa Cather’s O Pioneers!

The paper focuses on the strengths and virtues of Alexandra Bergson, the central character of Willa Cather’s novel O Pioneers! (1913). The novel deals with the harsh life of immigrants in America at the turn of the 20th century and describes the ways by which the pioneers sought to establish their existence and cope with their life’s tragedies. Using the VIA-IS (Values in Action Inventory of Strengths) classification, the paper attempts to show how Alexandra Bergson’s character strengths contribute to the value-based paradigm represented in the novel.

The Bodhisattva Ideal

This chapter provides an in-depth look at the central character of the Vimalakīrti Sūtra by analyzing the manner in which the bodhisattva ideal is presented. It examines several aspects of this ideal: the bodhisattva vow, the difference between monastic and lay Buddhism, and the way that Buddhist enlightenment is envisioned. The image of Vimalakirti as a character in the text emphasizes his “skillful means” of teaching the Buddhist dharma and of living his life, his inclusive outreach to all living beings, and the extent to which he overcomes the dichotomy between pure and impure aspects of human life.

The Imaginative Invalid: The Exaltation of Illness in Alan Pauls’ Wasabi (1994)

In the medical discourse, as in some of our social practices, disease is sometimes associated with deficiency and suffering. Literature has the power to challenge, and even reverse, these negative connotations established by other institutions. This is what Alan Pauls does in Wasabi, a novel whose narrator and leading character - the author’s very own alter ego - is apparently in poor health. In addition to frequent narcolepsies, he suffers a supernatural metamorphosis that he refers to using the lexicon of illness. The vision of illness Wasabi offers is in no way a pessimistic one, however; it is presented not as a problem to be solved, but rather as a positive life experience through which the narrator and central character is able to reach a higher state of consciousness.

About vozho, the Spirit of Transition Time and Holiness among Udmurt and Komi

This article concentrates on one very central character in Udmurt mythology. It is a character typical of the transitional time around the solstices, an ambiguous and liminal time, which requires particular caution from the humans to protect themselves from dangerous interference from the world beyond. This character, whose name, vozho, appears in the Udmurt name of these periods, vozho-dyr, the time of vozho for the winter solstice and invozho, heaven-vozho for the summer solstice, is also a water spirit. I reflect also on other water spirits and on their peculiarities. This analysis leads me to reflect on the origin and the ramifications of the concept behind vozho with its linguistic correlations, the way it is articulated and how it sheds light on the concept of holy in the Permic languages and for the Permians, Udmurt and Komi. This leads me to reflect on the correlations between liminality and holiness, the liminal places and spaces and their value, and the particular characters in the mummery festivities that characterise this transitional time and which are connected both to the spirits of the other world and to the dead ancestors, who are among the main providers of well-being in the Udmurt world.

Leslie Marmon Silko’s “Lullaby”: A Pantheistic View

This study highlights the pantheistic perspectives of the Native American society depicted in Leslie Marmon Silko’s short story “Lullaby”. The protagonist’s divine and strong attachment to the objects of the natural world emboldens her to face several dangers in her life. The dominant ways of the Western world lead the central character Ayah into complete chaos. But the superior power of nature forces her to face internal and external struggles. She never curses her fate but tries to move with the ways of the world, tells readers about her willingness to be assimilated into an alien culture and retains her faith in nature and its objects. Nature acts as a guiding light in her life. She lives her life by singing traditional songs. The ideas discussed in the study are socially significant in the current century because we can see how man tries to ignore power of nature and how his unnatural ways disrupt the balance of our natural world.