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There is an uncomfortable moment in the podcast, The Ballad of Billy Balls, that prompted me to think about a podcasting course I teach, and my approach to the emotional aspects of some of my stude...

The article discusses the problem of the romance as a genre in Adam Mickiewicz’s poetic cycle Ballady i romanse (Ballads and Romances). So far scholars have paid attention mainly to Mickiewicz’s ballads and his innovative use of this genre, treating the romance as a ballad-like genre, without its own specifi city and rather marginal in the context of the developing romantic aesthetics. However, a closer analysis of the poems Kurhanek Maryli and Dudarz shows their distinctiveness within Mickiewicz’s poetic volume. The poet’s romance turns out to be a weak ballad of sorts, only stressing the potentiality of fantastic events. This genre can also be described as a contamination of the idyllic convention with elements of a horror ballad.

The article continues a series of works devoted to the Russian reception of the Scottish writer James Hogg (1770—1835), a famous interpreter of folk ballads and author of “The Private Memoirs and Confessions of a Justified Sinner” (1824). The facts and materials related to the perception of J. Hogg in Russia in the middle of the XIX — early XX century are collected and summarized. It is noted that during the period under review, no new translations of J. Hogg's poetry and prose into Russian were created, however, in the articles of leading literary critics (N. G. Chernyshevsky, M. L. Mikhailov, A. V. Druzhinin) when analyzing the works of N. V. Gogol, T. Goode, the translation activity of I. S. Turgenev expressed opinions on certain aspects of the biography and work of the Scottish author. It has been established that the main source of information about J. Hogge and his work was for the Russian reader of the second half of the 19th — early 20th centuries translated publications on the history of English literature and culture, other books by Western European researchers published in Russia. The manifestations of interest of Russian researchers and popularizers of English literature in the work of J. Hogg are comprehended, with special attention paid to the article by N. A. Solovyov-Nesmelov “James Hogg”, which was a literary sketch about the childhood of the writer, and the essay by K. F. Tiander the novel of the first quarter of the 19th century, which offers a different assessment from the predecessors of the Scottish author’s activities as a continuer of the traditions of M. Edgeworth.

Рассматривается эволюция романтической баллады в баянном искусстве. Впервые обозначены три стадии ее жанровой эволюции. В качестве материала анализа избрана сюита для готово-выборного баяна А. Белошицкого «Из глубины веков». Цель исследования - атрибуция жанрово-балладных элементов в названном произведении. Использованы методы теоретической поэтики, целостного и жанрового музыковедческого анализа. В задачи работы входит установление соотношений между балладной моделью-инвариантом и ее реализацией в названном опусе, для чего даны критерии жанровой идентификации национально-исторической баллады. К ним относятся жанровый код - «Человек и историческая трагедия народа», генеральная интонация жанра - Nordic sublime, балладные персонажи - бард, воин и возлюбленная - и канонический мотивный тезаурус, лежащий в основе ее композиционно-драматургической модели. Делается вывод, что движение от баллады к балладности в сюите соответствует третьей стадии жанровой эволюции, связанной с разрушением «твердой жанровой формы», а ее реактуализация в ХХ веке способна выступить инструментом мифологизации прошлого. This work examines the evolution of romantic ballad in accordion art. For the first time, three stages of its genre evolution are identified. A suite for the converter accordion by A.Beloshitsky “From the Depths of Centuries” was chosen as the analysis material. The purpose of the article is to attribute genre-ballad elements in the named work. Methods of theoretical poetics, holistic and genre musicological analysis were used. The tasks of the work include establishing relationships between the ballad invariant model and its implementation in the named opus, for which the criteria for genre identification of a national-historical ballad are given. These include the genre code - «Man and the historical tragedy of the people», the general intonation of the genre - Nordic sublime, ballad characters - bard, warrior and beloved and canonical motive thesaurus, which underlies its composition and drama model. It is concluded that the movement from ballad to balladness in suite corresponds to the third stage of genre evolution associated with the destruction of the “true genre form” and its reactualization in the twentieth century is able to act as an instrument for the mythologization of the past.

İncelememiz, hayatı hakkında biyografik kaynaklarda herhangi bir bilgiye yer verilmeyen ve şiirlerinde işlediği konu itibarıyla Bektaşi olduğu düşünülen Behrî hakkındadır. Şairin şu ana kadar tespit edilebilmiş tek eseri divanıdır. Divanda; 1 muhammes, 42 müseddes, 1 mütessa, 1 müsemmen, 24 kaside, 2 terkibibent, 16 terciibent, 47 gazel ve 38 rubai bulunmaktadır. Bunlara ek olarak Behrî’nin divanında yer almayan 6 şiiri daha tespit edilmiştir. Behrî’nin şiirlerini ihtiva eden eser, Almanya Milli Kütüphanesi Türkçe Yazmaları koleksiyonu (Staatsbibliothek zu Berlin-Preußischer Kulturbesitz) “Ms.or.oct.1592” demirbaş numarasında kayıtlı; çeşitli tarikatlarla ilgili şiirleri, mensur metinleri ve duaları içeren bir risale mecmuasıdır. Mecmua içerisindeki eserler Hurûfîlikle ilgili olmakla birlikte genellikle muhteva özellikleri itibarıyla bir araya getirilmiştir. Mecmuada sırasıyla; Risâle-i Haydarî-Tarîkat-nâme-i İlâhî, Esrârnâme-i Nakşî-i Akkirmânî, El-İlmü Noktatün Kesserhâ’l-câhilûn Hazret-i Alî kerrema’llâhu vechehu, Kitâb-ı Keşf-nâme-i İlâhî, Silsile-nâme-i Âl-i Abâ, Makâmât-ı Evliyâ Akşemseddîn, Kitâb-ı Rûhiyâ ve Gayr-ı Resâ’il isimli risaleler yer almaktadır. Ayrıca mecmuada hakkında bilgi verilen tarikatlarla ilgili manzum ve mensur eserlerden örnekler de bulunmaktadır. İncelememize konu olan kısım ise mecmuanın “162b-166b” sayfaları arasında Behrî’ye ait şiirlerin bulunduğu kısımdır. Burada Behrî’ye ait 9 manzume vardır. Bunlardan 3’ü Behrî’nin divanında yer almaktadır. Diğer manzumeler ise on iki imamı anlatan 1 mersiye, çeşitli ayetlerden iktibasların yer aldığı gazel nazım şekliyle yazılmış 1 elif-nâme, Bektaşilik hakkında 1 şiir ve yine Bektaşilikle ilgili 3 koşmadan oluşmaktadır. Koşmalardan biri on iki imam, diğer ikisi ise Abdal Mûsâ ile ilgilidir. This study is about Behrī who is thought to be a Bektashi in terms of the subjects he deals with in his poems. There is not any information about his life in biographical sources. The only work of the poet that has been detected so far is his Dīwān. There are 1 mukhammes, 42 museddes, 1 mutessa, 1 musemmen, 24 odes, 2 terkibibent, 16 terciibent, 47 lyric and 38 rubaie in the Dīwān. In addition, 6 more poems that were not included in Behrī’s Dīwān were identified. The work that contains Behrī’s poems, is a treatise corpus containing poems, prose texts, and prayers about various sects, registered in the German National Library Turkish Manuscripts Collection (Staatsbibliothek zu Berlin-Preußischer Kulturbesitz) under the fixture number Ms.or.oct.1592. Although the works in corpus are related to Ḥurūfism, they are generally brought together in terms of their content features. In the corpus respectively: Risâle-i Haydarî-Tarîkat-nâme-i İlâhî, Esrâr-nâme-i Nakşî-i Akkirmânî, El-İlmü Noktatün Kesserhâ’l-câhilûn Hazret-i Alî kerrema’llâhu vechehu, Kitâb-ı Keşf-nâme-i İlâhî, Silsile-nâme-i Âl-i Abâ, Makâmât-ı Evliyâ Akşemseddîn, and Kitâb-ı Rûhiyâ ve Gayr-ı Resâ’il treatises are included. Moreover, there are examples extracted from the prose and poetry works related to the religious orders that are mentioned in the corpus. The part that is the subject of this study is the section where Behrī’s poems are found between 162b-166b pages of the corpus. Here, there are 9 poems belonging to Behrî; three of them are in Behrī’s Dīwān. Other poems consist of 1 elegy describing twelve imams, 1 Elif-nāme written in the form of lyric containing quotations from various verses, and 1 poem and 3 ballad on Bektashism. One of the ballads is on twelve imams and the other two are about Abdal Musa.

In this article, the interpretation of the ballad „Meșterul Manole” found expression in an archetypal perspective, in correlation with the message of ideas, the legendary-historical significance and the sources of mythical inspiration. A symbol of the aspiration for the perfection of a work of art, the ballad is a masterpiece of universal inspiration, where the motive of human sacrifice in the service of a social, aesthetic, spiritual ideal becomes the essence of our millennial spirituality, is the artistic synthesis of a sacred space of values their fundamentals. One of the distinctive features of the ballad is the opening to new areas of mythical transcendence, orientation to some original images, with an ancient mythological substratum, prone to successive changes, to reveal new dimensions in the aesthetic perception of the world, in the context of serious meditations on life. and death, fulfillment, and sacrifice, about the perpetuation of the human spirit through creation.

Purpose: The article focuses on the genetic relationship of Dagestan people majority, which was reflected in the archaic layer of culture, on the processes of interethnic historical and cultural interrelations, which are generally characterized with a sufficient intensity in Dagestan. Methodology: The article is a generalizing analysis of multinational Dagestan oral-poetic creativity, the statement of the positions and conclusions on the genesis and the centuries-old functioning of a unique folkloric unity in diversity. Main Findings: Dagestan folklore material, in particular such genres as myths, legends, legends, heroic epic, heroic historical and historical songs and ballads, ritual poetry genres, unconscious lyrics, the fairy epics of its variety, parables, oral stories and anecdotes, proverbs, sayings and riddles are characterized by their commonality and mutual influences, conditioned by the historical and cultural interrelationships of Dagestan peoples. Implications: Dagestan folklore material allows us to draw important conclusions concerning not only the peculiarities of the functioning of folklore in a particular region, but also the general theory of folklore. Novelty: The very syncretic nature of folklore dictates the need for a complex attraction to the object of analysis of the verbal, musical, ethno-graphic and other components of this field of art, which makes it possible to more deeply and broader comprehend the above unity in diversity.

The paper aims at analysing various influences that Henry Derozio underwent in the composition of his Fakeer of Jungheera. The reviewers and commentators, while admitting some poetic merits in the poem, find it largely imitative of Byron and hence greatly wanting. However, a close first-hand study of the poem along with the poet’s notes alluded to it throws light on a number of facts related to its subject matter and style. It is revealed that far from being modelled on Byron's ballads like The Corsair or The Siege of Corinth or The Prisoner of Chillon, it is unmistakably Indian in conception and amazingly rich in local colours and imagery. Even the apparent similarity is superficial, and instead of being a fanciful tale, the Fakeer of Jungheera is the poetic recreation of a real-life episode heard by and believed in by the poet. The paper also examines the art of poetic diction and devices that the poet employs in the poem.

The topicality. The factors that influence the disclosure nature of the director’s and composer’s creative concept are the leading artistic polystylistic tendencies — stylistic layers and trailblazing experiments in the formation of sound-timbre and visualized combinations, where ancient intonations together with modern sound formation and video performance create new sound and performance realities. The purpose. To determine the role of artistic reconstruction of the folklore text and the specifics of their artistic embodiment in the film parable “A well for the thirsty ones” by the popular Ukrainian film director Yu. Illienko; to determine the specifics of the embodiment of the signs of cultural codes in the musical-sound score of the film by composer L. Hrabovskyi. The methodology. The culturological approach applied in revealing the issues of the article made it possible to consider the peculiarities of the drama and musical-sound score of Yu. Illienko’s film “A well for the thirsty ones” in a broad cultural context. The interpretive approach helped to highlight the importance of cultural codes of the folklore text, the specifics of their embodiment in the director’s idea through the artistic reconstruction of the folklore text. The results. Yu. Illienko and L. Hrabovskyi, addressing the folk song tradition, create a new intonation world, embodied in separate “emergings” of female solo singing (verses of the ballad one by one are strung like beads throughout the picture), in lamentations, in incantations, in children’s amusements when playing on pots, that intersperse with a general, very concise and minimalist sound score of the film. The characteristic and figural semantics of the musical-sound background of the film is saturated with active rhythmics, complex sound palette of combination of electronic sounds with natural ones, which demonstrates the author’s (at the choice of director and composer) special sound complex. Folklore texts in the film create a single hypertext, which is manifested at the appropriate levels — auditory, visual and dramatic. The novelty. The article considers for the first time the specifics of the embodiment of artistic reconstruction of a folklore text as the basis of the drama of Yu. Illienko’s film “A well for the thirsty ones” and defines sense forming and semantic role of the embodiment of the cultural codes signs in the musical-sound score of the film by composer L. Hrabovskyi. The practical significance. The artistic reconstruction of the folklore text in the film is based on the introduction of polystylistic tendencies and features of sound (timbre) thinking into the cinematographic process. Prospects for further study of this issue is the study of modern manifestations of artistic reconstruction of the folklore text, the processes of formation of semiotic space both in cinema and in culture in general.

The article presents analysis of the ballads written in the Soviet period, highlights the main poetic paradigms in the figurative structure of ballads, examines the significance of the category of colour in the genre of literary ballads. It is noted that the ballad colour is an important means of expressiveness and is used to actualize the plot. In addition, the material of the paper makes it possible to assume that the artistic picture of the ballad romantic world is revealed mainly in achromatic black and white tones.

This article contends that William Wordsworth’s works and ideals—particularly those found in ‘Tintern Abbey,’ ‘Preface to the Lyrical Ballads,’ ‘Ode,’ and The Prelude—operated as formative structural principles for W.E.B Du Bois as he composed The Souls of Black Folk. Direct quotations and literary echoes to Wordsworth’s work pervade much of Souls, as Du Bois wrestles with—and reconsiders—Wordsworthian theories of individualism and transcendence when discussing race and African American identity. More specifically, I argue that Du Bois reconceives Wordsworthian theories and artistic forms throughout much of Souls in order to represent an emergent, politically radical African American identity—one capable of creating what Du Bois termed revolutionary ‘Negro art.’

One of the fundamental myths of the Romanian literature, Master Builder Manole had various approaches in the opera genre. On individual stylistic paths as musical language and show formula, Alfred Mendelssohn, Gheorghe Dumitrescu, and Sigismund Toduță reinterpreted the myth of the human sacrifice, in an extremely nuanced approach of the transfiguration of the ancient folklore. The choral inserts are polychromatic, having different forms and formulas: men choir, female choir, mixed choir, choral conglomerations. The three composers wrote a romantic music, in terms of content, and a classic one, in terms of the formal elements themselves.

The Victorian poet Algernon Charles Swinburne (1837-1909) is famous for his uniquely “bizarre” female characters. His contemporary critics as well as many of the researchers who touched upon his work have interpreted his female characters to be “obsessive,” “masochistic,” and in some cases even “sadistic.” Phædra is one of his characters who suffered the most because of this misconception. Rarely referenced at all, she has been regarded as a one-dimensional “masochist” who lacks psychological and emotional depth and whose only driving force is her desire for death. However, a close reading of Swinburne’s short poem reveals Phædra’s innermost anxieties and places her in the narrative of the Swinburnian femme damnée inspired by Les Fleurs du Mal of the French poet Charles Baudelaire (1821-1867). Swinburne’s “Phædra” is remarkable in that it also serves as an exceptional representation of Sappho (c. 630 - c. 570 BC) in Victorian England. This paper highlights Swinburne’s aversion towards the Victorian mock-morality, as well as some of his life-long influences. Furthermore, this paper defines Phædra in a new light by considering the classical originals, Sappho’s and Baudelaire’s works, and even a twentieth-century retelling by the Russian poetess Marina Tsvetaeva (1892-1941).

Mary Robinson’s Lyrical Tales (1800) has long been understood as a retort to William Wordsworth and Samuel Taylor Coleridge’s first edition of Lyrical Ballads (1798) and has long been admired for i...

Introduction. The ballad genre in Kalmyk poetry, having no national folklore analogues, is based on the Russian literary ballad of the Soviet period. The article examines ballads in 20th-century Kalmyk poetry in the aspect of genre synthesis — the ballad and the poem proper. The relevance of the work is determined by that the Kalmyk literary ballad remains understudied both in the genre paradigm and in the dialogue of cultures. Goals. The article aims to examine the Kalmyk literary ballad in its synthesis with the genre of the poem. Materials and Methods. The investigated materials are works by N. Tamarchenko, D. Magomedova and others. Works by Mikhail Khoninov, Aksen Suseev and Erdni Eldyshev in the original and literary translations serve as sources for the study. The main research methods comprise the historical-literary, comparative methods, and that of descriptive poetics. Chronologically, the study covers the mid-to-late 20th century. Results. The study reveals, firstly, a synthesis of ballad and poem traced through the example of Mikhail Khoninov’s ‘Салькнла бǝǝр бǝрлдснǝ туск баллад’ (‘The Ballad of the Battle against the Wind’) and its poem-type transformation in Russian translation, the latter being also evident in the second edition of the original text; secondly, the genre of the poem in Aksen Suseev’s ‘Semen Nimgirov’ (Russ. ‘The Ballad of Civic Duty’) and Erdni Eldyshev’s ‘Marinesko’ gets transformed into that of the ballad when in their Russian translations; thirdly, the work identifies the prototype of Suseev’s main character. Conclusions. The ballad proves a most constant genre in M. Khoninov’s poetry, and the innovative synthesis of ballad and poem in the original text can also be found in his other work — ‘Хальмг күүкнǝ туск баллад’ (‘The Ballad of the Kalmyk Woman’). The authors A. Suseev and E. Eldyshev wrote no ballads, and their intentions had been initially aimed at the genre of the poem. This reveals certain differing strategies of the author and the translator resulting in the genre differentiation of a selected work on the latter’s way to the reader.

A comparative analysis of ballads for piano by three artists, whose works were created at the beginning of the 20th century, has been carried out. It has been revealed that the traditions the composers relied on during the period of the formation of their own style were influenced by the musical atmosphere and the environment (they are united by some common creative principles of F. Chopin and F. Liszt). The comparative analysis has reviled that the means of expression (allusions, stylizations) introduced and taken as a model to follow, differ due to the different conditions for the formation of a creative idea. For S. Bortkevych, these are the factors of nostalgia in forced emigration, hence he appealed to the idioms of expression of S. Rachmaninoff, M. Mussorgsky, and O. Scriabin. For I. Friedman these are the features of thematic development and development of F. Liszt's drama in view of the addressee of the dedication. For B. Lyatoshynsky these are works of M. Mettner, who the composer later borrowed a synthetic model of the sonata-ballad from. It has been highlighted that in terms of form, S. Bortkevych has a rondo-sonata with features of variation, I. Friedman has a sonata form with a mirror reprise and a fugue in the episode, and B. Lyatoshynsky has a sonata form of the poem type with features of cyclicality. In the article it has been claimed that the features of epicness and lyrics, gradations and means of achieving expression, freedom and scale of expansion of the major-minor in each of the composers are also different. There is an attraction to different styles of expression: romantic-secession (S. Bortkevych), secession-modern (I. Friedman), modern-expressionistic (B. Lyatoshynsky). The means used by composers have been differentiated: S. Bortkevych used allusions and pseudo-citations, intonation inversions and methods of musical structure development, which show resemblance with the works of S. Rachmaninoff, O. Scriabin and M. Mussorgsky. I. Friedman reproduced improvisation, spectacular virtuosity and the peculiarity of F. List drama tradition. B. Lyatoshynsky emphasized the basic features of the genre, based on the peculiarities of the formation of Chopin-Liszt ballad style, combining them with the peculiarities of genre synthesis and the characteristic features of M. Mettner's individual compositional style. The extent of each of the composers' contributions to the interpretation of the piano ballad genre has been clarified.

The article discusses the development of the oriental plot in the ballad by Lokhvitskaya “Enis-el-Jellis”. The ballad is a poetic version of the literary novel of Lokhvitskaya and Balmont. The depiction of elements of traditional architecture, the realities of life, the description of the appearance of the lyrical heroine in the spirit of sophisticated oriental lyrics, the use of the motif of bliss make it possible to put the sensual world of the poetess’s experiences in a space of oriental exoticism. According to many biographers, the central image of the work — the slave Enis el-Jellis — this is Lokhvitskaya “dressed up” in the eastern beauty. Playing this role the poetess openly expresses her romantic feelings. Much attention is given to the color system of the ballad. The following colors belong to the image of the slave: scarlet, gold, blue / gray, which create positive connotations and consolidate the link “Enis el Jellis — colorfulness — life”. With the lover of the lyrical heroine — the knight — only two colors are associated: the black color of the night and the white color of his horse, which makes a double impression. In addition, the work notes the static and dynamic discription of the main images of the ballad.

The purpose of the article is to consider the instructive potential of the American folk ballad XVI-XIX. An integrated approach is used. Descriptive and comparative methods of analysis allowed to generalize existing approaches to solving the problem of instructiveness in folklore. The historical method was used to describe the situation in North America, against which the American folk ballad developed. The connection of Puritan philosophy with ballads is substantiated by methods of text and context analysis, the moral values ​​of the first settlers are determined. The scientific novelty of the work is that, despite the numerous statements of folklorists on the importance of the instructive function of folklore, it was not considered on the material of the American folk ballad of the XVI-XIX centuries earlier. Conclusions. Folklore should be considered as a specific moral code of conduct. The song form acts as an effective medium through which the younger generations join the moral values ​​approved by the Puritan community.

The article is devoted to the study of the ballad genre in the works of the Kabardian author Anatoly Bitsuev. For the first time, an attempt is made to separate scientific consideration and coverage of the ballads «The Birth of a Highlander», «Duel», «Dzhambulat», «Younger», «Love». The scientific novelty of the research lies in the fact that a comprehensive (meaningful and structuralcompositional) analysis of the said works is carried out. The main research attention is focused on establishing their correspondence/inconsistency with the canons of the genre, identifying artistic features. The article uses a number of scientific methods, including analysis and description. The results obtained can be helpful in studying the history of the ballad genre in the Adyghe literature, as well as in compiling special courses and writing qualifying and other types of research papers.

The article deals with ghostly horses - «guides» to another world in acmeistic ballads. The works of N. Gumilev, Vs. Rozhdestvensky, O. Mandelstam, G. Ivanov and I. Odoevtseva are considered in the paper. The main characters of the ballads are most often riders, and their horses are endowed with demonic or just mystical functions, in some cases they save the characters acting as their defenders. Horses carry the rider to another space; horses kill characters or help them. In ironic ballads this image is reinterpreted - romantic features are weakened, deliberately strengthened, or disappear altogether (for example, «The ballad about a cabby» by I. Odoevtseva).

The plot basis of the N. F. Grammatin’s “Uslad and Vsemila. Old Russian Ballad” (1810) – the ballad “Alonzo the Brave and the Fair Imogine” from the novel “Monk” by M. G. Lewis (1796) is determined. To establish the probable source of acquaintance with the Lewis’s ballad, in addition to the English original, Russian (1803) and French (1797) translations of the novel were used for comparison. Comparison of the texts leads to the conclusion that the author is directly acquainted with the English ballad in the original language. To give the ballad a national flavor, Grammatin used a conventional historical background, archaized vocabulary, as well as images and expressions of the national epic tradition. It has been proved that Grammatin used motives of Russian epics to create a ballad on a similar plot ATU 974 “The Homecoming Husband” from the collection of Kirsha Danilov – on Solovei Budimirovich (contamination of two plots – the matchmaking and the return of a husband to his wife’s wedding) and on Dobryna Nikitich and Alyosha Popov (the return of the husband to his wife’s wedding). The basis for combining these different sources – the supposedly “old Spanish ballad” on Alonzo and Imogine (as it is presented by Lewis in the novel) and Russian epics – were Grammatin’s general views on ancient poetry. Revealed the author’s accents in a popular plot. Compared to the English sample, Grammatin reinforces the theme of heavenly punishment for treachery. The bridegroom-dead comes not only in fulfillment of the fidelity’s vow, first of all he is the messenger of heaven, the messenger of the punishing God. The connection of Grammatin’s poem with the ballad experiments of N. M. Karamzin, V. A. Zhukovsky, I. I. Dmitriev, P. A. Katenin, S. P. Zhikharev and other contemporary works are considered.

Introduction: the article is part of a complex of studies of the genre specifics of literature and actualizes the genre features of a ballad in the creative practice of Khanty poets. Objective: to analyze the specifics of ballad forms in the works of two Khanty poets – R. P. Rugin and M. I. Novjukhov. Research materials: the works of the ballad genre in the works by R. P. Rugin and M. I. Novjukhov. Results and novelty of the research: for the first time the article analyzes the works of the ballad genre found only in the works of two poets in the history of Khanty literature – R. P. Rugin and M. I. Novjukhov. Less than a dozen samples of the ballad genre were identified, which indicates that the ballad genre has not received a decent development in Khanty art literature. The analysis of the ballad forms of R. P. Rugin and M. I. Novjukhov showed that most often their works are based on a plot. Only one sample of M. I. Novjukhov has the plot replaced by a dialogue. Combination of the real and the fantastic is clearly seen in the poets’ appeal to the folklore and mythological symbolism of images, in the inclusion of folklore traditions and religious beliefs of the Khanty people in the literary text. The motifs of mystery, death, and world duality become mandatory components of the ballad genre of R. P. Rugin and M. I. Novjukhov. The themes of freedom, war / battle, and ethical dilemmas are the plot-forming in their ballads. The poets and translators do not preserve the ballad strophe in all their works. The ballad forms of the Khanty poets reflect the national worldview and poetic traditions of Russian literature.

The ballad entitled La bastarda y el segador has enjoyed a significant vitality in the modern oral tradition, not only in the Iberian Peninsula, including Portugal, but also in the Canary Islands, Latin America and the Sephardic tradition. This work consists in a close analysis to the numerous narratives and argumentative variables in almost one hundred versions compiled in different regions, paying attention also to its geographical distribution., El romance de La bastarda y el segador ha conservado una enorme vitalidad en la tradición oral moderna, tanto en la Península Ibérica, incluyendo Portugal, como en Canarias, Hispanoamérica y la tradición sefardí. Este trabajo pretende desarrollar un análisis minucioso de las numerosas variantes discursivas y de la intriga presentes en las cerca de cien versiones recopiladas de las distintas regiones, atendiendo además a su distribución geográfica.

The subject of this research is the symbols characteristic to the genre of folk ballade. The object of this research is lyrics of the Russian folk ballads. The following compilations of ballads served as the material for this research: “Russian Ballad” (edited By V. I. Chernyshev, N. p. Andreev, 1936), “Folk Ballads” (edited by D. M. Balashov, A. M. Astakhova, 1963), “Russian Folk Ballad” (edited by D. M. Balashov, 1983), “Ballads” (edited by B. P. Kirdan, 2001), “Epics. Historical Song. Ballads” (edited by A. V. Kulagina, V. A. Kovpaka, 2008). The author carefully examines the peculiarities of ballad symbolism and its functions. In the course of research, the following conclusions were formulated: consistency of the genre order depends on the presence of the system of artistic visual means; central in the poetics of ballad belongs to symbolism, parallelism, antithesis, epithets, and metaphors; symbolism in the romantic ballads is presented quite extensively; often a symbolic situation becomes a part of psychological parallelism presented in many ballad concepts; syntactic parallelism can be placed in any thematic link and amplifies by antithesis. In certain instances, antithesis appears an important technique for creating a tragic effect. Ballad poetics is subordinated to explication of the overall genre trend, including the reflection of fundamental universals and principles. The novelty of this work consists in the attempt of textual analysis of the major compilations of ballads, as well as in selection of the symbols for their further analysis within the framework of implementation of genre characteristics.

The Hispanic Ballad in the modern oral tradition can be characterized as essentially a women’s genre, and much recent work has focused on the determination of the ‘woman’s voice’. This article studies the woman’s voice literally, focusing on texts from the Eastern Sephardic branch of Hispanic balladry in which women protagonists are given the last word. This conservative tradition provides an excellent subject for study, with plentiful texts, including those collected during the author’s fieldwork. At the heart of the article is a microanalysis of the endings of texts of three ballads that feature strong women, Silvana, El forzador and El robo de Dina. Findings show that the singers have manipulated the ballad ending to give the female protagonist the authoritative last word, making use in so doing of effective closural devices to amplify the message.

The thematic justification involves demand for detecting and identifying patterns of transformation and modification of ballads by poets of the Silver Age. The twentieth century loved poetry experiments, a game with form, and there are a variety of genres: sonnets, rondos, gazella, pantoons, ballads in the works of symbolists and especially those of the Acmeists. Acmeist ballads reveal a part of the early twentieth century poetic world and contain both the traditional elements of the genre and the features of modernism. The works by Georgy Ivanov, the so-called “youngest acmeist”, who was a member of the Petrograd “Workshop of poets”, presents a variety of lyrical genres. The purpose of our study is to consider the ballads and ballad stylization of G. Ivanov. The purpose of the work determines its methodological basis, which includes the historical and literary, phenomenological, typological and comparative approaches. The stylization which is inherent in all of Ivanov’s ballads (“Song of the Pirate Ola”, “May Ballad”, “Scottish Ballad”, “Ballad about the Publisher”) and his ballad poems, allows to see the genre in a new aspect. The poet observes ballad rules – a tragic plot, romantic “vagueness” of narration, ballad motifs (ominous raven, night stories, turning into the past, etc.). However, these rules are distorted and stylized. Traditional ballad plots are so intensified that forcing the features creates a comic or ironic effect, the combination of motives turns out to be multilayer. G. Ivanov creates a parody in some cases and in some cases, a stylized ballad. The game and the love of stylization which characterize G. Ivanov throughout his creative life open up a new genre that he practically created by himself. Keywords: ballad genre, G. Ivanov, stylization, parody, motive, lyrical plot

The article contains a comparative analysis of early European interpretations of Goethe’s poem Erlkönig and hypothesizes that it was under their influence that Zhukovsky introduced significant innovations in his translation. Already in the first English translations by M. G. Lewis and W. Scott, translators dispense with the naturphilosophical implication of Goethe’s original and enhance its folkloric dimension; the plot is structured according to the pre-romantic and romantic folk legends of evil and many-voiced forest ‘kings.’ The early French versions embark on a new tradition of ‘translating’ the title into the native language, revealing the semiotics of the image and making it more recognizable by a foreign culture. Zhukovsky’s idea of the Forest King is shaped by his contemporary culture; he integrates the German original not only into Russian demonology as described by Russian lexicons of the early 19th c., but also into the set of translation practices already established at the time when he was writing his ballad.

Resumo: Nos começos do Romantismo, o romance, no sentido de poema narrativo longo de matriz medieval, será tomado como modelo para a renovação literária. Contudo, ainda que o foco das atenções recaia sobre o romance, que na Península é relacionado à tradição local do romanceiro (as “baladas ibéricas”), o gênero épico será mantido no horizonte. O trabalho procura demonstrar como, expressando intenções de filiação de gênero, mas também constituindo e negociando posições para autores e obras no campo literário, os paratextos de poemas narrativos longos refletem essa situação.

The article discusses the dialogue of ethnocultures within the anthology titled ‘Contemporary Literature of Russia’s Peoples. Poetry’. The case study of contemporary Russia’s literary processes through works of Kalmyk and Tuvan poetry makes it possible — to a certain degree — to identify its present-day state, examines the existing literary contacts and interrelations, including by means of Russian-language literary translations of compositions by national poets, reveals the translation problem faced by national literatures of our country. Goals. The article presents poetic collections of Kalmyk and Tuvan poets, reveals ethnic worldviews of the Turko-Mongolic peoples through the use of Russian translations. The novelty of the work lies in the fact that this is the first study of Kalmyk and Tuvan poetic lyrics in the format of a modern anthology of literature of Russia’s peoples as a presentation of ethnic poetry for a wide range of Russian-speaking readers. Materials and 57 Фольклористика и литературоведение Methods. The comparative method delineates specific features of Kalmyk and Tuvan poetic works, identifies mental and individual vectors of authors. In terms of gender, the anthology contains works by Kalmyk men poets only. Kalmyk poetry is represented by 5 authors, Tuvan poetry — by 3 authors. The distinctive line is the age. The selected works include none by representatives of senior or junior generations which evidently attests to the fact, on the one hand, there is a problem of generational change and, on the other hand, the compilers faced quite a challenge when it actually came to select authors to be introduced in such anthologies. In genre perspective, both the sections seem to have little to do with the traditional poetic structures and patterns; so, there are some borrowed genres of ballad and poetic legend without any mention of post-modernist experiments. Still, the thematic landscape is traditional enough: motherland, genealogies, national history, nature of ancestral lands, love, and family. The Tuvan poems by E. Mizhit are published in the author’s translations (a bilingual poet), works by the other poets — in V. Kulle’s translations. Results. The study of modern Kalmyk and Tuvan poetry in this book in a comparative aspect reveals similarities and differences in cultures of the Turko-Mongolic peoples, artistic pictures of the world inherent to related ethnic groups.

Stories have been the source of moral lessons and entertainment, as far as the humankind of all the time, is concerned. The use of story- telling existed from the time immemorial. Stories appeared in the form of ballads and epics, in the ancient time, but later it took the shape of short and long fictions. The long fictions or novels varied in its theme and size. They are divided into many genres according to its subject matter- Gothic, Picaresque, Historical etc. The Ballad is nothing but a short story in verse. Its subjects are simple and memorable like adventure, love, war and the life etc. An Epic is a long tale in verse with famous heroes for its main characters. Iliad and Odyssey are examples. These stories gave the reader enjoyment and certain life-related ‘tips’. Hayden White, an American historian says, “the aim of the writer of a novel must be the same as that of the writer of the history”. Historians and Novelists wish to provide a verbal image of ‘reality’. A novelist may produce reality indirectly but this is meant to correspond to some sphere of human experience. He desires to pass the merits and demerits of such experience onto the readers, to enhance a better vision of life. Novelists are free to use fictitious characters and situations for the readers’ entertainment. Stories took its present prose form later in the middle ages. Decameron, a collection of stories by Boccaccio, was published in 1350. It deals with stories told by a group of people affected by Black Plague. They used these stories to get mental relief from the pandemic. ‘Canterbury Tales’ of Geoffrey Chaucer also, is telling the life-related stories by some pilgrims to the shrine of St. Thomas Becket at Canterbury. All these show that men were, from the early ages itself, used to tell stories to recollect the past and go forward with lessons of reality for a better life. Actually these stories are ‘historical facts’ blended with the imagination of the writers.