An Archetypal Reading of the Mythic Representations in Seamus Heaney's Selected Poems

Archetypes reveal the shared roles among universal societies. This archetype may create a shared imaginary which is defined by many stereotypes that have not separated themselves from the traditional, biological, religious and mythical framework. In the same way, archetypal criticism represents that body of many stereotypes including plot structure, symbols, character type, themes that occur in mythology, religion, and stories across cultures and time periods. Heaney poetry has rested on a wide range of mythic patterns and archetypal images, particularly the image of the scapegoat/sacrificial victim and earth goddess. His archetypal images have been identified with the contemporary issues in his country. Therefore, this paper explores the underlying archetypal pattern that Heaney implies in some selected poems. These poems target the mythological heritage of his homeland which he either celebrates or criticized. His poems exhibit the poet's unconscious attachment to the universal archetypes which set social phenomena.

Motivic complex of deception in the comedy “The Country Wife” by William Wycherley

The subject of this research is the motif-imagery analysis of the comedy “The Country Wife” by W. Wycherley. The method of motif analysis allowed revealing the core motifs and their implementation in the text, while the structural method allowed outlining the patterns and correlations between motifs. The article is dedicated to the analysis of the motivic complex, as well as the images of the characters. Special attention is given to the protagonist of the comedy Mr. Horner, whose image receives different interpretation of the researchers – from crafty libertine to playwright. W. Wycherley introduces an entire gallery of hypocrites, and each one of them seeks to fulfill their hidden motives. Comedy “The Country Wife” is considered the pinnacle of W. Wycherley’s work and multiple times has become the subject of scientific research. However, the novelty of this study lies in the analysis of the motivic complex of deception in the comedy. The study reveals the following motives associated with deception: motive of deception, motive of disguise, motive of writing / giving the note, motive of infidelity, motive of fear of infidelity (fear of becoming cuckold), motive of theater that is directly related to the image the hypocritical hero Harry Horner. All these motives create the general background of the work, and are the elements of the true or phantom motive. The character type is also important for realization of the motivic complex. The classification of W. Janz clearly indicates the prevalence of two types of hypocrisy in the comedy under review: moral (Lady Fidget, Mrs. Dainty Fidget and Mrs. Squeamish, Mr. Sparkish, Mr. Pinchwife) and intellectual (Mr. Horner).

Discussion on the Morphological Characteristics of Dance Performance of "Female Roles" in Gannan Tea-picking Opera

Gannan tea-picking opera is a folk opera popular in the south of Jiangxi, among which "Liangdan Yichou" is the most representative way of performance. "Female roles" can be divided into "Xiao Dan" and "Cai Dan". The relationship of "Liangdan Yichou" in Gannan tea-picking opera can be roughly summarized as "the clown who plays the role of a female is responsible for matching, Zhengchou resembles the female character type in Beijing opera and “Fanchou”makes troubles. Cai Dan gives a beat of person with bad behavior. As the female character type in Beijing opera like three-inch “golden lotuses” (woman's bound feet in feudal age) encounters the exaggerated caricature like clown who plays the role of a female, the distinctive female dance performance style of Gannan tea-picking opera was formed. This paper aims to sort out and summarize the formation of the "female roles" dance performance in Gannan tea-picking opera and its unique character characteristics to have a clearer understanding of the aesthetic norms and artistic value of the dance performance of "female roles" in Gannan tea-picking opera to improve the cultural content of Gannan tea-picking opera and promote the inheritance and development of Gannan tea-picking opera as a whole.

Doctor – Patient Relationship in Clinical Legal – Medicine Practice

"Introduction. In Romania legal medicine suppose professional activities as forensic pathologist and legal doctor are facing victims that request documenting traumatic lesions if any or sexual abuses, prejudices, working capacity, malpraxis, etc. Objective. The objective of our work is to determine the special kind of doctor-patient relationship in clinical legal medicine and to analyze the ethical influences. Material and methods. More than 1500 cases of medico-legal examinations are performed in the National Institute of Legal Medicine Mina Minovici in Bucharest each year. Most of them are domestic violence requests or car accidents. Discussions. In the late 30 years (Ezechiel JE, Linda LE, JAMA 1992) found out 4 different relationship models that may be applied in medical practice; the paternalistic model (the patient accepts his doctor as his legal and moral representative), informative model (the patient expresses his autonomy), interpretative model (the doctor is a good friend in need) and the deliberative model of self-construction of the knowledge that the patient must have in order to have a voluntary decision. Conclusions. In clinical legal medicine the patient is not only a patient but a victim also. Therefore, the relationship is double folded. With his patient the legal doctor develops initially an informative model, then an interpretative model. With his victim the doctor develops initially a paternalistic approach (passive character type) or an informative one (active character type), usually an interpretative model as most highly requested (What would you do if you were I?) or the deliberative model when evaluating prejudices, etc. "

Rewriting Dalit Gender Paradigms through the Viranganas and Femme Fatale Archetypes

The true identity of the Femme Fatale character type has not yet been discovered despite the growing interest of authors and writers in this lethal woman archetype, whose extensive presence was seen in nineteenth and twentieth century literary and cultural texts. The Femme Fatale has acquired numerous forms since her arrival into the literary arena. Although typically villainous, or at least morally confusing, and always associated with a sense of mystification and unease, Femme Fatales have also appeared as an anti-heroine in some stories. Some narratives also end with a repenting Femme Fatale, who regrets her past villainy. Some Femme Fatales also pave way for greater good by ensnaring the villain and reforming him through her lethal treatments. Dalit viranganas are a group of warrior women characters who are comparatively novel portrayals within the arena of literature. These characters refurbish the entire ideologies governing the conventional patriarchy which often put women under the control of these patriarchal figures. She denies fitting into the roles of a dutiful wife and nurturing mother that the mainstream society prescribes for her. In these representations there is a blending of history and present and these women become symbols of pride for the community. They are often dressed in masculine manner and displays physical prowess, which is a quality often ascribed to men. She leaves behind a strong picture of an unremorseful, bold and daring woman who adheres to her own ideals rejecting the rules put forward by society.