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This article analyzes the motive of the battle with the seven headed dragons in mythic cognition and folklore. The image of the mythological dragon in European and Asian myths is compared and its characteristics are examined. The fact that this approval, which is seen as a symbol of chaos and evil, also symbolizes wisdom, is characteristic of in some folkloric creations. However, in the folk narratives of Turkic peoples, including Kazakh folk narratives, the seven headed dragons are more often depicted in one character, that is, in the form of evil. It is known that the seven headed dragons, which have been passed from mythical ideas to folk narratives, have a symbolic meaning for the hero to destroy each of those seven heads. The giant dragon, as a natural force that threatens humanity, has become the main character of many folklore works. In ancient epics and fairy tales, stories, love stories, religious epics, legends, the main enemy of the main hero is the dragon, as well as an event in which the hero's heroism is criticized and glorified-the victory over the Dragon. The Seven-Headed Dragon, which is constantly described in the works of Kazakh folklore as a formidable enemy, causes fear for the entire country. The dragon in mythical stories has accumulated several characteristic features of the animal. The presence of three or seven heads, the body resembles a lizard or snake, and the presence of a flying wing are the main features of the mythical dragon. In the folklore of western countries, the Dragon, which is evil, terrible, in the folklore of Eastern peoples, the Dragon is shown as a wise, perfect mind, Guardian. In the Kazakh, Kyrgyz, and Tatar versions of the fairy tale" Er Tostik " there is a moitva fight with a dragon. In the Kazakh version, the main hero travels underground to the Land of Snake Baba Khan. During the ascent to the ground, Baiterek killed a dragon and saved the chicks of a giant bird. In the Tatar version of this fairy tale, the dragon snake takes Er Tostik to the underworld. The purpose in it is to ask them to save themselves from the evil force that threatens them. One of the heroes who fought and won the battle with the seven main Dragons was Salor Kazan, the hero of the book "korkyt Ata". In the new version of the book" Korkyt Ata "there is a thirteenth verse called" Salor Kazan killed the seven headed Dragons". In the ancient epics of Kazakh folklore "Kubygul", "Kissa Kulamergen", "one-eyed dau", "Golden Horn saiga", In the fairy tales "Er Tostik", " Ayudau", " Kulatai batyr", "Zharty Tostik", "Ayalpan, Sudysalpan, Taudytalpan", "Deldash batyr", "Kokzhan batyr and Dragon", " Kissa Zhamshid", "Kissa Tahir", "Shahmaran", "Hikayat Dastan Khatymtay", "Abugalisina, Abulkharis", " Kissa Shakir, Shakirat", "Kissa Malik Hasen", "Koshi Batyr", "Seipilmalik", "Kissa Dandan", "Kissa Bahram", "Kissa Shahizada", as well as religious dastans "Kissa Kaharman" and "Sleeping Batyr", in the legends of "nurguzaryn nightingale", the Seven-Headed Dragon is shown as the main enemy that the main hero will defeat. The Battle of batyr with the seven main dragons is one of the main and stable motifs in Kazakh folklore. The killing of a dragon, which came to the edge of the country and caused terrible horror and suffering, the destruction of its seven heads is the driving force, the main mechanism of the story of the folklore work. These issues are taken into the form of an article, analyzed with examples from the texts of Kazakh folklore, and conclusions are drawn on this basis. [ABSTRACT FROM AUTHOR]

The Woman without a Shadow is both the title of an opera resulting from the collaboration between Hugo von Hofmannsthal and the composer Richard Strauss in the three years immediately preceding the outbreak of the First World War, and that of a fairy tale in which the writer, from 1912 to 1919, reworked the subject of the libretto. With a specific focus on the second version, this essay sets out to describe how, beyond the complex symbolism of the formal structure (which initially makes one think of an artistic product finely crafted, but completely unrelated to historical reality), Hofmannsthal's fairy tale is actually intimately connected to the cultural and 'social' project developed by the author during the years of the First World War. It was this project that gave rise to the veritable 'mythology of the social' that lies at the heart of this fairy tale, in which Hofmannsthal revisits the very cornerstones of Romantic aesthetics and gives them a modern twist. [ABSTRACT FROM AUTHOR]

In the article the author examines how the matrix of the dragon killer appeared in different social contexts and its formation as a fairy tale matrix. She traces the genealogy of the dragon slayer matrix back to ancient mythologies, paying regard to Babylonian, Greek, Celtic, and Slavic mythologies, as well as to the Christian codes and appearances in (particularly Slovenian) folklore, and discusses the variations that occur with different uses of the matrix, in different historical moments and epistemes. Special attention is devoted to studying the social and political functions the tales about the dragon killer had in the contexts in which they appeared. [ABSTRACT FROM AUTHOR]