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Journal articles on the topic 'Birds, folklore'
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1
Kane, Stephanie C. "Bird Names and Folklore from the Emberá (Chocó) in Darién, Panamá." Ethnobiology Letters 6, no. 1 (June 15, 2015): 32–62. http://dx.doi.org/10.14237/ebl.6.1.2015.226.
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This paper presents data on names and folklore of birds collected among native speakers of Emberá in the moist tropical forests of Darién, Panamá. The naming data was collected by systematic elicitation of names from pictorial representations of birds. It is organized here to facilitate analysis of various aspects of folk taxonomy in relation to scientific taxonomy. Folklore about birds collected in natural contexts is also included to indicate the role of birds and their names in symbolic processes that exceed the limits of literal reference.
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Babič, Saša. "Kako pjeva stara ptica, nauči ptiće pjevati." Narodna umjetnost 60, no. 2 (December 19, 2023): 153–68. http://dx.doi.org/10.15176/vol60no209.
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Birds are present in everyday life, in forests, parks, cities, in fields and on playgrounds, by rivers and at entrances to stores, etc. Their ubiquity in human everyday life all through history leads to “birds” developing metaphorical meanings and producing powerful stereotypical images, which also motivate wider conceptual meanings. This article focuses on the lexeme ptica “bird” in Slovenian short folklore forms, its stereotypical representation and its metaphorical meanings. The ethnolinguistic approach will provide insight into the characteristics ascribed to birds as well as personifications and metaphorical transfers in short folklore forms, i.e., it will show what the bird symbolizes.
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R, Velusamy. "Folklore Elements in Kalittokai." International Research Journal of Tamil 4, S-16 (December 12, 2022): 28–37. http://dx.doi.org/10.34256/irjt224s164.
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Kalittokai is a classical Tamil poetic work. In this text the basic beliefs about life have been discussed. These beliefs are strong among the people. Beliefs on nature, birds, trees, astronomy and rain are very common among the people. Belief in blinking the eyes, belief over God, belief related to dreams, lizards horoscope, belief in fasting, belief in crescent prayer, and belief in fanaticism are very common among people. These are followed in their day to day life. Humans from birth to death are tied up in a knot called belief. This article is about the folklore elements in Kalittokai.
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Ilimbetova, Azaliya Fattakhovna. "The cult of birds in the religious and mythological system of the Bashkirs." Samara Journal of Science 12, no. 1 (June 29, 2023): 230–34. http://dx.doi.org/10.55355/snv2023121217.
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The image of a bird is of great importance in the traditional worldview of the Bashkirs. The most revered Bashkirs in their mythological and ritual traditions are the crow, the magpie, the eagle, the cuckoo, the dove, the crane, the duck, and the swan. In the cult of birds among the Bashkirs, one can find various stages in the development of social consciousness. The earliest period includes mythological and ritual plots reflecting the survivals of totemic representations. Their remnants appear in the identification of man and bird, in endowing birds with human qualities. In the tribal nomenclature of the Bashkirs, relics of faith in the origin of their individual tribal groups from birds have been preserved. In folklore, rituals and customs of the Bashkirs, revered birds act as totemic ancestors, patrons and helpers of people, family and marriage relations, women in labor and children. In the religious and magical practice of the Bashkirs, totem birds and their individual parts have miraculous, healing powers. In everyday rituals, folklore and ethnographic sources, there are arguments proving that the Bashkirs used to have holidays in honor of certain totem birds in the past. The remnants of religious and mythological beliefs about birds today form an organic part of the national tradition of the Bashkirs.
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Badmaev, A. A. "Corvids in the Buryat Traditional Worldview." Archaeology, Ethnology & Anthropology of Eurasia 51, no. 4 (January 3, 2024): 119–25. http://dx.doi.org/10.17746/1563-0110.2023.51.4.119-125.
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Using a structural-semiotic approach together with a comparative historical one, and based on ethnographic, lexical, and folklore sources, this study focuses on the raven and the crow as characters in Buryat mythology. Buryat terms for these birds are of Mongolian origin. Folk beliefs concerning the raven are more elaborate than those concerning the crow. The image of the raven is ambiguous, whereas the crow is an unambiguously negative character. The analysis of vocabulary and of the minor genres of folklore shows that Buryats paid attention to the various zoological features of these birds: plumage color and voice in the crow; plumage color, size, beak, flight duration, collectivism, emotionality in expressing joy and greed in the raven. The essence of both birds of prey was believed to be impure. The raven symbolized heaven, spring, vigilance, war, masculinity, and rancor. Being intelligent and independent, the raven was the Buddhist deity’s aide. Unlike the crow, the raven was patronized by evil spirits and other demonic characters. The crow was a feminine character, a symbol of sky, winter, water, bloodlust, and rumor. Both birds were associated with shape-shifting. The Buryat views, then, combined specifically ethnic and universal ideas about corvids.
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Monraev, Mikhail U., and Alexander B. Lidzhiev. "Символика птиц у калмыков." Desertum Magnum: studia historica Великая степь: исторические исследования, no. 2 (December 30, 2020): 78–86. http://dx.doi.org/10.22162/2712-8431-2020-10-2-78-86.
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The article describes the symbolic meaning of the image of some bird species existing in the Kalmyk traditional perception. As a rule, different species of birds in the culture of a nation have their own symbolic meaning that can have both positive and negative connotation. The article analyzes the role of messengers referred to different species of birds. The article points out the link of the bird symbolism with totemism and in particular with the selection of this or other species of birds for totems of different ethnic groups. There was a comparative analysis of the bird symbolism among different nations. The study is of great importance as there is a need for revealing the main characteristics of bird image symbols which are as ancient as any other symbols existing in the life of people. The article analyzes the ornithonyms of the Kalmyk language from the ethno-linguistic point of view. Ornithonyms are widely represented in the folklore of Kalmyks and other Mongolian nations: in the fairy tales, proverbs, sayings and other folklore genres.
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Belova, Olga V. "“The Birds of Clay”: An Apocryphal Motif in Folklore Legends." Slovene 4, no. 1 (2015): 39–44. http://dx.doi.org/10.31168/2305-6754.2015.4.1.2.
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The article describes the adaptation of the apocryphal Gospels motif—the revival of clay birds by Jesus—in the folk traditions of Eastern and Western Slavs. The texts of folk legends demonstrate not only the active inclusion of apocryphal motifs in oral narratives, but they also incorporate the motifs’ biblical contexts and they emphasize themes that are close to everyday life and that reflect local history. The folklore texts analyzed here are from different regions of the Slavic world (Russia, Ukraine, Belarus, and Poland); they allow us to conclude that the oral tradition has retained, with great stability, these fragments from medieval sources up to the present day. Moreover, it is interesting to note the different interpretations of the same motif in monuments of Christian and Jewish literature (apocryphal Gospels and the pamphlet Toledot Yeshu). The fairly large group of folk legends with apocryphal motifs, occurring in different Slavic traditions from the 19th to the 21st centuries, thus testifies not only to the continued relevance of the biblical plots for oral culture, but also to the importance of the Apocrypha for the broadcasting and preservation of biblical stories in the folk tradition.
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Yuzieva, Kristina. "The materiality of the representation of the owl in the Mari ways of speaking." Multilingua 40, no. 4 (May 27, 2021): 487–510. http://dx.doi.org/10.1515/multi-2020-0074.
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Abstract This article shows how language materiality is conceptualized through an ethnolinguistic analysis of the representation of the owl as an indication of human-bird relationships. This approach enables addressing the multiple relations between birds and speakers and their perception of the environment as these are reflected in language, folklore and rituals. This research is related to such discourses as “language”, “materiality” and “environment” and is based on a case study of the Mari, a Finno-Ugric people who live in central Russia and still adhere to their folk religion. First, it sets out the Mari names which are used for birds of the owl family, then it shows how the terminology has changed due to the emotional side of humanity, and how terms express things in metaphorical way. Next, the article focuses on how the bird (owl) can be a source of positive or negative information with regard to auguring the future and how the symbolic use of birds in rituals and magical actions contributes to co-creating landscapes between human and non-human agencies. This study is based on extensive linguistic, folklore and ethnographic material, including my own field material.
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Abdurakhmonov, Ibrokhim Rakhimovich. "Reflection Of Folklore In Applied Art Of Uzbekistan (From The Beginning Of The XX Century To The 90s)." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 166–71. http://dx.doi.org/10.37547/tajssei/volume03issue02-26.
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The article scientifically generalizes the issues of reflection of folklore motives in the types of applied arts of Uzbekistan in the XX century. The most general considerations regarding the nature of the symbolic image of animals, birds, poultries, insects and underground creatures in the decor of household items are presented.
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Anikina, Tatiana, and Natalia Stackelberg. "The image of birds in Czech literature." Bohemistyka, no. 1 (May 8, 2019): 83–89. http://dx.doi.org/10.14746/bo.2019.1.6.
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This article is devoted to show the common grounds of Czech and other European literature. Images of birds have an imposing tradition of use in Czech literature. They are characterized by a variety of meanings and history of existence. There are both traditional and everyday folklore images, such as mythologeme of raven for the first one, and geese for the second, which have different semantic workloads. Discussion of the image of birds in the Czech literature is the basement of conclusions about the common ground that brings Czech and European literature together. Moreover, it also gives us more details about Czech national identity, the specifics of its literary schools and movements and the originality of the author’s vision of the world.
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Cheke, Anthony S., and Jolyon C. Parish. "The Dodo and the Red Hen, A Saga of Extinction, Misunderstanding, and Name Transfer: A Review." Quaternary 3, no. 1 (February 18, 2020): 4. http://dx.doi.org/10.3390/quat3010004.
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The chronology of observations of two extinct flightless birds in 17th century Mauritius, the dodo (Raphus cucullatus) and the red hen (Aphanapteryx bonasia), and what names or descriptions were used for them, is re-examined. It was concluded that the balance of probabilities is strongly against birds called dodaarsen without descriptions in the 1680s being dodos rather than red hens. The dodo had disappeared earlier due to predation by pigs, but a hiatus in settlement broke observational continuity, yet folklore preserved the name and transferred it to the red hen. The dodo’s extinction thus happened unobserved.
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Dederen, Jean-Marie, and Jennifer Mokakabye. "Negotiating womanhood: the bird metaphor in Southern African folklore and rites of passage." Tydskrif vir Letterkunde 55, no. 2 (August 30, 2018): 91–103. http://dx.doi.org/10.17159/2309-9070/tvl.v.55i2.2934.
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In spite of its evident presence in Southern Africa’s rich cultural heritage, the bird metaphor has received surprisingly little attention. The cultural materials analysed in this article include children’s stories, songs, heroic poetry and ethnographic accounts of rites of passage. At first the data seems to suggest that bird symbolism could be interpreted in terms of a simple dual conception of gender identity. Some magical birds signify the prowess and authority of men. Others could be linked symbolically to the procreative powers of women. On further reflection, however, we identified a third category of more ambiguously gendered birds. It is contended that this additional bird type can be explained in terms of the female-male dialectic that shaped gender relations in small-scale societies. It is further proposed tentatively that the bird metaphor could have provided women with a symbolic means to negotiate their identity.
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Seferova, Fera. "The role of folklore within the worldview and creative individuality of the Crimean Tatar children's writers." Филология: научные исследования, no. 8 (August 2021): 35–47. http://dx.doi.org/10.7256/2454-0749.2021.8.36119.
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The study of interrelation between folklore and literature is one of the most relevant trends in literary studies. Folk poetic symbols as the genetic memory of the nation infiltrate consciousness not only as artistic material, but also as a emotions that awaken the writer’s imagination, giving rise to various associations. The subject of this research is the creative activity of folklore is in the works of the Crimean Tatar children's writers. Examination of the folklore-mythological context, determination of the peculiarities of transformation of folklore motifs in a literary reveals the creative laboratory, allowing determining the specificities of personal reflection of the writer, as well as tracing the psychological patterns of the creative process, and the evolution of artistic thinking overall. The scientific novelty is defined by the absence within Russian literary studies of monographic and significant critical works on determination of the folklore-mythological context, transformation, functionality, and interpretation of folklore elements in works of the writers. The conclusion is made that folklore as part of the culture of a particular nation, is an organic element of the artistic world of the Crimean Tatar writers, such as E. Amit and T. Khalilov. The novel by E. Amit presents the new comprehension of myths, paroemias, and legends. An example of interaction of the mythological views and modern perspective in the novel “Last Chance” is the folk legend on the “happy and unhappy stars”. It also encompasses such ancient forms of folklore as cursing and benevolence, as well as the elements that take roots in the ancient taboos, the period of totemism. In the psychological prose by T. Khalilov, an important role is played by the symbolism of birds and plants. The ancient legend of the winged horse Duldul organically intertwines with the author's creative idea without losing its specificity.
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Matjila, DS. "Birds as subjects in Setswana folklore: Depiction of their relationship to man." South African Journal of African Languages 35, no. 1 (January 2, 2015): 105–11. http://dx.doi.org/10.1080/02572117.2015.1072372.
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SVYSCH, NATALYA. "FOLKLORE FORMULAE OF UKRAINIAN WEDDING SONGS’ TEXTS." Actual issues of Ukrainian linguistics: theory and practice 35 (2017): 99–135. http://dx.doi.org/10.17721/apultp.2017.35.99-135.
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The present article researches the functioning of the formulaic diction in the Ukrainian wedding songs’ texts. It investigates the underlying mythological and ritual basis that caused the emergence of the textual component as it preserved in contemporary Ukrainian folklore. Textual sources analyzed in the article are the most relevant for the purposes of the current investigation as they were transcribed immediately from the alive performance as early as in the XIX century by prominent pioneers of scientific folkloristic and ethnography Zorian Dolenga-Chodakowky, Stepan Rudansky and others. The notion of formulae accepted in the present study regards the formula as any word or words’ combination that has stable mythological and ritual meaning and is common in the poetical diction of certain nation. Thus a series of poetical formulae were discovered in the texts of the Ukrainian traditional wedding songs. They concern mainly the following thematic groups: people, human body parts, birds of the upper world, animals of the middle world, animal of the nether world, natural objects, and artificial objects (many of the latter execute special symbolic functions in the wedding rite itself).
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Badmaev, A. A. "Traditional Buryat Beliefs About Birds." Archaeology, Ethnology & Anthropology of Eurasia 48, no. 2 (June 26, 2020): 106–13. http://dx.doi.org/10.17746/1563-0110.2020.48.2.106-113.
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This study, based on ethnographic, linguistic, and folk materials, describes and interprets Buryat ideas of birds. The analysis of lexical data reveals the principal groups of birds according to the Buryat folk classification. The bat’s status is indistinct, since bats are not subordinate to the kings of the animal world. Diagnostic criteria underlying the classification of birds are outlined. The main criterion was whether a bird was beneficial or harmful. Ornithomorphic images in Buryat mythology, folklore, and ritual are described. Cult birds and bird totems are listed, and relics of local bird cults (those relating to swan, goose, duck, pigeon, and eagle) are revealed. Birds with positive connotations are the swan, crane, swallow, pigeon, eagle, and eagle-owl. Those with negative connotation are the kite, raven, crow, quail, cuckoo, and hoopoe). The attitude toward ducks, hawks, magpies, and jackdaws is ambivalent. Certain birds (ducks and ravens) were related to cosmogonic ideas; others (swan, goose, eagle, etc.) were endowed with a werewolf capability. The raven, the cuckoo, and the hoopoe symbolized natural cycles, whereas the magpie and the quail were associated with the soul. The role of bird images in the mytho-ritual practices is discussed. The Buryat mythological ideas reflected not only specific ethnic views of certain birds, but also universal ones.
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Pravtcheva, Latchezara. "THE TRANSFORMATIONS OF WOMEN INTO ANIMALS IN CHINESE AND BULGARIAN FOLK CULTURE." Diplomatic, Economic and Cultural Relations between China and Central and Eastern European countries 8 (April 1, 2023): 460–66. http://dx.doi.org/10.62635/z6s2-vm4r.
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The cultural artistry of people always impresses with interesting characters and plots. This following article aims to present the transformations of women into animals and of animals into women in Chinese and Bulgarian folklore, starting from ancient myths and the deities who created the humans, passing through the traditional transformations into dragons or hydras, as well as into other creatures such as nine-tailed foxes, hedgehogs, bears, goats, and birds.
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Shutak, O. S., N. A. Konoplenko, and M. V. Podoliak. "Zomorphic images of Ukrainian folklore: demiurge birds in the Ukrainian winter calendar ritual poetry." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 20, no. 86 (February 20, 2018): 142–46. http://dx.doi.org/10.15421/nvlvet8628.
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The world-view system of Ukrainians is one of the richest and symbolically-filled models of knowledge of the surrounding world, which fully represented itself in various forms of art and, above all, in folklore. It is the oral folk art that most fully preserved the representation of the ancient Ukrainians about the establishment of the world, the appearance of the first plants and animals, the emergence of elements, human, etc. At that time, when there was no written language yet (prehistoric period), our ancestors broadcasted their understanding of life processes by means of verbal literature, encrypting it in a figurative system. The article examines the history of the study of zoomorphic images in Ukrainian folklore from the 1930s to the present, points to the diversity of interpretation of animal symbols in different genres of oral folk poetry, and focuses on the symbols of demiurgeous birds. It is in the poetry of the winter calendar ritual cycle, as the oldest stratum of Ukrainian folklore, that we find the image of the birds-founders of our world, which forms a coherent picture of the mythological notions of our ancestors about its beginning. In carols and shcherdivkas, in particular cosmogonic, ornithopes are a prominent place. The connection between the image of the bird and the two most ancient ideas-symbols – the true and the world tree-the most archaic models of the world order – is analyzed. At a time when in folk poetry of other genres, ornithomorphic images carry a diverse semantic load, then in cosmogonic carols they symbolize only the process of creation, where the act of diving, immersion in the right is a symbol of the «conception» of the world, the penetration and degeneration of one life-giving energy into another (the idea of fertility).It was in the images of the falcon and the pigeon, pure and good beings, that our ancestors saw the founders of all living things, they considered their primary source and life-giving energy.
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Kondakov, Alexander. "The Kalmyk etiological folk tale “Why the owl has no nostrils”." Rodnoy Yazyk. Linguistic journal, no. 2 (December 2023): 118–32. http://dx.doi.org/10.37892/2313-5816-2023-2-118-132.
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In this article we present a mythological text from Kalmyk folklore. Better known as folk tale, this text has appeared in various publications both in the original language (Kalmyk) and in Russian. As this text explains the origin of certain phenomena in bird life, it is scientifically more appropriate to classify it as an etiological folk tale or an etiological myth. The story is short and mostly consists of a dialogue between the Eagle, the king of birds, and the savvy Owl. Thanks to its resourcefulness, the Owl gets out of a difficult situa‑ tion and helps to set other birds free. Unlike them, the Owl’s beak is not perforated, therefore the future generations of owls do not have nostrils (in fact, owls do have nostrils, but they are non-perforated). The text is presented in the original Kalmyk form, accompanied by the translation into Russian and interlinear glossing. The Abbrevia‑ tions section provides two systems for designating Kalmyk morphemes: the modern one and the traditional one (according to G. Sanzheyev). In this way, the text can be used not only by Kalmyk language specialists, but also by experts in other Mongolian languages, by linguistic typologists, and by researchers in the fields of folklore, anthropology and ethnology.
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Baitanasova, Karlygash, and Aigerim Talen. "THE SHRINE OF THE BIRD: THE PLACE OF THE OWL IN WORLD FOLKLORE." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 1 (March 24, 2022): 73–83. http://dx.doi.org/10.55808/1999-4214.2022-1.08.
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Folklore elements based on superstition will forever remain in the memory of the people and will not lose their value. Birds that are part of nature, especially owls, are the most resilient in the myth of the world. The article comprehensively explores the nature of the owl, collected and compared legends, proverbs, beliefs, songs and traditions of the peoples of the world about the owl. In the legends of the peoples of the world, there are positive and negative opinions about the owl. The fact that today the emphasis on the history of the formation of ideas about the owl is due to the fact that this bird is found in different ways in the folklore of many countries. The article is based on myths, proverbs, sayings and sayings of popular beliefs, as well as examples of folk poetry.
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Bobunova, Mariya А., and Alexander T. Khrolenko. "Russian popular poetic speech in the aspect of crosscultural linguafolklore studies." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 226–37. http://dx.doi.org/10.37816/2073-9567-2021-61-226-237.
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The paper sums up the experience of lasting work of the Kursk linguafolklore scientists that have been studying the Russian popular poetic speech. It traces the history of coming into being and developing of the special academic branch aimed at studying the folklore work phenomenon — that is lingua folklore. The main attention is paid to the methodology of comparable and crosscultural linguafolklore. Comparable linguafolklore implies comparing social dialectal and popular poetic speeches, the language of various folklore genres as well as territorial differences in folk poetic speech within the same ethnic tradition. Cross-cultural linguafolklore studies is a tool used for discovering cultural preferences of the ethnic group and specific peculiarities of the mentality through comparing traditional cultures. The object for confronting folklore texts belonging to different ethnic groups are the concepts verbalized with the help of the national language forms. The subject meanings are accumulated in these forms. The paper includes the analysis of singular concepts, such as “gold,” “river,” the stable ties of the concepts, such as “garden — forest,” “flower — bush — tree” and “birds,” “food” and “The human face.” The authors are sure in the relevance of use of the crosscultural research as a tool, especially for a сontrasting dictionary. They come to the conclusion that even though comparing folk songs lexicons that belong to various ethnic traditions is labor intensive, demanding exactness and objective comments, is actually very productive.
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Shakhmatova, Elena V. "Mythological Birds in the Culture of the Silver Age: Revival of the Archaic." Observatory of Culture, no. 6 (December 28, 2014): 128–35. http://dx.doi.org/10.25281/2072-3156-2014-0-6-128-135.
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Deals with some trends in Russian art at the beginning of the 20th century. The author argues that the Archaic revival of the Silver Age reflected the active denial of contemporaneity by the artistic elite. The national folklore and mythology representing the IndoEuropean roots of Russian culture became popular among the visual artists while the mythological birds Humayun, Sirin, Alkonost, the Swan Princess and the Firebird were pictured by Viktor Vasnetsov, Mikhail Vrubel, and Ivan Bilibin; their images were created in the verses by Alexander Blok, in Igor Stravinsky’s music, and in choreographic masterpieces by Mikhail Fokine and Anna Pavlova.
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Senkovych, Olha. "«It floated like a black winch» (metaphoric portrait of a woman in Yuri Vynnychuk’s prose)." Culture of the Word, no. 90 (2019): 46–54. http://dx.doi.org/10.37919/0201-419x-2019.90.4.
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The article states that the works of the contemporary author Yuri Vynnychuk constitute a landmark fragment of Ukrainian prose of the late twentieth – early twentieth centuries. The material of the novels «Malva Landa» and «Spring Games» shows the specifi cs of individual linguistic prose, in particular in the fi eld of linguistic portraiture of a woman. Based on the consideration of stylistic means of linguistic and artistic portraiture of a woman in prose of Yuri Vynnychuk, productive ways of metaphorization with the use of nominations of birds, plants, household objects and so on were identifi ed. The specifi cs of the author’s development of the aff ectionate-poetic names of women, which are characteristic of the Ukrainian folklore tradition, are traced. These include the generic nomination bird and specifi c nominations swallow, swallow, winch, winch, winch, winch, turtle, cuckoo, quail, cuckoo, cuckoo. It was emphasized that despite their trawliness, they did not lose their imagery and emotionality. Such a contextual aff ectionate name of women is taken as a typical feature of folklore by a modern reader. Also actively portrayed and psycho-emotional descriptions of women in associative juxtaposition with the traits of such birds as owl, crow, canary, are actively presented in Yuri Vynnychuk’s prose. An examination of stylistic means of linguistic and artistic portraiture of a woman in prose by Yuriy Vynnychuk reveals productive ways of metaphorizing using animal nominations and household items.
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Marina V., Osipova. "Symbolism and Functions of Birds’ Images in the Folklore of the Kuril, Sakhalin and Hokkaido Ainu." Humanitarian Vector 15, no. 3 (June 2020): 145–52. http://dx.doi.org/10.21209/1996-7853-2020-15-3-145-152.
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Tolkacheva, Svetlana Viktorovna. "Hair symbolism in the Russian wedding folklore of Udmurtia." Philology. Issues of Theory and Practice 16, no. 11 (November 21, 2023): 3939–48. http://dx.doi.org/10.30853/phil20230601.
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The aim of the research is to conduct a culturological and mythopoetic comparative description of the meanings of the symbol “hair” using the material of a traditional Russian wedding taking place on the territory of Udmurtia. The scientific novelty lies in the holistic study and systematization of the different meanings of the symbols marking the bride’s hair – in identifying poetic motifs and plots of wedding song folklore, in analyzing the context of the event code of the ceremony – within the framework of the Russian dialect tradition of one region. It is the first time that new wedding episodes described by informants, original songs, including unique ones for this territory, are introduced into scientific use. The paper analyzes the texts in which the parameters of the time code are involved, gives examples with a poetic description of the “instantaneous” combination of the past and the future in the bride’s life. It is the first time that facts rare for this tradition from Old Believer villages are indicated, i.e. the gifting of a scarf by the mother-in-law as a symbol of the bride’s acceptance into a new family and the redoing of the bride’s hair into three braids. As a result, it has been proved that in the wedding ritual, the attitude to hair is iconic. In the popular view, it is associated with the cyclicity of natural time and the time of human life, with the influence of the elements on the time and space of the ritual “transition” of the bride, with the understanding of its value as a part of the external appearance of the bride and as the embodiment of the moral foundations of society itself. Human somatics is projected onto plants and birds; it correlates with mythological images focused on similarity with graphic forms (circle, pipe).
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Kuusela, Tommy. "Initiation by White Snake and the Acquisition of Supernatural Knowledge." Religionsvidenskabeligt Tidsskrift 74 (March 25, 2022): 153–69. http://dx.doi.org/10.7146/rt.v74i.132097.
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ABSTRACT: This paper explores narratives about eating the flesh of a dragon or whiteserpent. It is argued that these narratives can be interpreted as examples of initiation. The snake’s association with wisdom is a common motif in Scandinavian folklore,stretching back at least to the Middle Ages. The author argues that folklore accounts of eating a white snake correspond symbolically to initiation. Different texts explain and legitimise how certain persons gain abilities such as wisdom, second sight, and the ability to understand the language of birds or other animals. This motif shows continuity over time and space and does not have to have taken place as an actual ritual for theinterpretation to be valid, particularly as, in the 19th century, such stories legitimised such people’s position in society as ‘cunning folk’.
RESUME: Denne artikel udforsker fortællinger om at spise kødet af en drage eller hvid slange. Den foreslår, at de kan tolkes som eksempler på initiering. Slangens tilknytning til visdom er et almindeligt motiv i skandinavisk folklore, der strækker sig tilbage til middelalderen, hvis ikke længere. Forfatteren hævder, at folkloreberetninger om at spise en hvid slange symbolsk svarer til initiering. Forskellige tekster forklarer og legitimerer, hvordan visse personer opnår evner som visdom, synskhed og evnen til at forstå fugles eller andre dyrs sprog. Dette motiv udviser kontinuitet gennem tid og rum og fortolkningens gyldighed afhænger ikke af, at de handlinger reelt har fundet sted som et egentligt ritual, især eftersom sådanne historier i det 19. århundrede legitimerede disse menneskers position i samfundet som ‘kloge folk’.
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Devyatkina, Tatiana P., and Serafima S. Panfilova. "Domestic animals and birds in traditional rites of the Mordovians: Finno-Ugric context." Finno-Ugric World 14, no. 4 (December 29, 2022): 453–62. http://dx.doi.org/10.15507/2076-2577.014.2022.04.453-462.
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Introduction. The article presents a study of the functions of domestic animals and birds in the traditional rites of the Mordovians and a number of Finno-Ugric ethnic groups of Russia. Common and unique functions are revealed as well as the level of transformation of animalistic and ornithomorphic rituals of the Mordovians in comparison with the Mari, Udmurts, Komi, Karelians, Vepsians, Khanty. Materials and Methods. The material of the study includes the published folklore and ethnographic sources, field materials collected by the authors. The analysis of the material was carried out using the descriptive and contrastive methods. The synchronic and diachronic approaches were also applied in the course of study. Results and Discussion. The study has revealed a variety of functions of domestic animals and birds in traditional rites of the Mordovians and a number of Finno-Ugric ethnic groups of Russia. In addition to the function of ritual sacrifice in various rites, they perform the apotropaic function in folk signs and fortunetelling, thanksgiving and propitiatory functions in the rituals associated with the patron deities of the elements. In the modern culture of the Mordovians, the traditional ritual functions of domestic animals and birds are being transformed into the utilitarian function. Conclusion. The contrastive analysis of the Mordovians materials with the data obtained from the Mari, Karelians, Komi, Udmurts, Vepsians, Khanty has showed that the ritual tradition of each ethnic group is characterized by a common and a specific use of animals and birds. In the modern ritual practice of these ethnic groups, chickens, roosters, sheep, pigs are used in the utilitarian function
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Hahara, Victoria. "VASYL HOLOBORODKO – A MASTER OF NON-CLASSICAL VERSE FORMS: VERSIFICATION ANALYSIS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 21–24. http://dx.doi.org/10.17721/1728-2659.2023.34.04.
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The article explores the creative work of Vasyl Holoborodko, particularly his book of poems "An Apple of Good News". This topic has not been extensively researched in Ukrainian literary studies, although Holoborodko's work has been studied in other aspects, such as folklore, in Yulia Shutenko's dissertation. This article specifically focuses on the analysis of non-classical verse forms in the author's poetry. According to one accepted classification, non-classical verse is divided into dactylic, taktovyk's, and accentual verse, depending on the change in the number of intrastressed syllable intervals. These forms have different productivity in Ukrainian poetry in general and in the work of Vasyl Holoborodko in particular. The polymetric superform of the non-classical verse is the vers libre, and Vasyl Holoborodko is the most productive author of this form among his contemporaries. This is related to the feature of his work as folklore trend. Among the examples of poetry presented in the article, there are samples that refer to the folklore sources of his poetry, spoken folk verse, which is the source for non-classical verse forms, and particularly vers libre. Additionally, there are interesting examples of dactylic, taktovyk's, and accentual verse, which are analyzed in detail in the article, including the poems "Spring", "Mother was cleaning potatoes", "Linen Birds", and "Hungry tongues tied in a knot...". The analysis of these pieces of poetry allows us to trace the tendencies of his creative work, such as a tendency toward irregularity, a slight predominance of taktovyk verses in non-vers libre verses, folklore as a leading principle both in vers libre and in the rest of the poems, and the alternation of expressive and meditative motifs in poetic creation, the reproduction of conversational speech and folk verse rhythms in the poetry, the transmission of unique features of the Ukrainian language and authentic imagery. The article is a part of an author's larger study of non-classical verse in Ukrainian poetry of the second half of the 20th century.
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Kharitonova, A. M. "Description of the “Barbarians” in the Qing Dynasty Album “Pictures of Miao from the Entire Guizhou” (“Quanqian Miaotu”)." Vestnik NSU. Series: History and Philology 22, no. 4 (April 12, 2023): 61–72. http://dx.doi.org/10.25205/1818-7919-2023-22-4-61-72.
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The article examines the album “Pictures of Miao from the Entire Guizhou” (全黔苗圖 Quanqian miaotu, Xyl. F-27), stored in the St. Petersburg State University Academic Library. The key objectives of the article are to determine the place of the album in the Chinese tradition of describing foreigners; description of the source structure; as well as highlighting ethnographic and folklore information in the album about foreigners. The relevance of the study is seen in the timeliness of a comparative analysis of this album with similar copies stored in research centers around the world and studied over the past few decades. The author sets himself the task of studying this album and identifying its key features. The methodology uses historical comparative studies, which allows to come to general conclusions based on the material of several similar albums. The Album contains valuable ethnographic information about ethnic groups of Guizhou. Descriptions together with hand-written illustrations contain information about the location of particular ethnic groups, their traditional activities, household items, agriculture, clothing. Details concerning the religious activities and rituals reveal the specifics of different ethnicities. This paper discusses various funeral rites making it possible to look at the albums as a source for further research on these groups. Speaking of folklore, it reflects the realities of daily life; for example weaving, drums, birds, tigers are mentioned in the descriptions. Nevertheless, the similarity in linguistic and cultural forms in the Qing Albums and the folklore of the peoples of Southeast Asia can indicate the possibility of relationship and cross-borrowing between administrative documents (such as Albums) and folk narratives. The article is supplied with a table and illustrative material.
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Malej, Izabella. "Rajskie ptaki Aleksandra Błoka i Wiktora Wasniecowa." Slavica Wratislaviensia 170 (October 1, 2019): 25–40. http://dx.doi.org/10.19195/0137-1150.170.2.
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Birds of paradise of Alexander Blok and Viktor VasnetsovHeavenly creatures — Alkonost, Sirin and Gamajun — are mythological hybrids with the body of a bird and the head of a beautiful woman. Their origins come from the old Slavonic and Russian folklore. They are described as mythical beings that hypnotised people through singing. Russian artists, including the painter Viktor Vasnetsov and the poet-symbolist Alexander Blok, also succumbed to their charm. Blok, fascinated by Vasnetsov’s canvases Sirin and Alkonost. The Birds of Joy and Sorrow, 1896; Gamajun, the Prophetic Bird, 1895 created poetic versions of these in 1899. In the case of both artists, there is a reference to the semantics of these magical birds, known from the folklore. Alkonost means happiness and hopes, unlike Sirin, an inhabitant of the underground world. Therefore, alkonosts announce joy, while sirins, treating men with hostility, symbolize sadness, suffering and despair. The third bird connecting Blok and Vasnetsov is Gamajun — a bird, the messenger of the gods, their herald, who sings divine hymns to people and predicts the future of those who know how to listen and are open to mysteries. Special attention must be paid to colorful and linear symbolism, to which both creators refer to, as well as to mythical reminiscences Cosmic Tree. Both the painted and lyrical depictions of birds of paradise are an example of creation of a new, modernist myth, the roots of which go back to the oral culture and whose essence defines the philosophical question of the dualism of the world and man’s place in it.Райские птицы Александра Блока и Виктора ВаснецоваРайские существа — Алконост, Сирин и Гамаюн, являются мифологическим гибри- дом тела птицы и головы красивой девы. Истоки их образов восходят к древнеславянскому и русскому фольклору. Они описаны как мифологические существа, которые своим пением гипнотизируют людей. Их колдовству поддались также русские художники, среди которых были живописец Виктор Васнецов и поэт-символист Александр Блок. Блок, очарованный картинами Васнецова Сирин и Алконост. Песнь радости и печали, 1896; Гамаюн, птица вещая, 1895, создал их поэтические версии в 1899 г. В интерепретации райских суще- ствобоих художников прослеживается отсылка к магическим птицам, представленным в фольклоре. Алконост обозначает счастье и надежду, в противовес Сирин как жительницы подземного мира. Таким образом алконосты — вестники радости, зато сирины, враждебно направленные к человеку, символизируют печаль, страдание и отчаяние. Третья птица, со- единяющая Блока и Васнецова, — это Гамаюн, птица вещая, посланник богов, их герольд, услаждающая людей пением Божественных гимнов и предвещающая будущее для тех, кто умеет слушать и открыт для тайны. Особого внимания заслуживают цветовые и линейные символы, а также мифические реминисценции космическое дерево, к которыми оба творца прибегают. Живописные и лирические изображения райских птиц являются примером создания нового, модернистского мифа, корни которого лежат в устной культуре, зато суть помещается в философском вопросе о дуализм мира и место человека в нем.
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Masłowska, Ewa. "Sakralne i ludyczne symbole szczygła w języku i kulturze." LingVaria 17, no. 1(33) (May 18, 2022): 197–213. http://dx.doi.org/10.12797/lv.17.2022.33.12.
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SACRED AND LUDIC SYMBOLS OF A GOLDFINCH IN LANGUAGE AND CULTURE The article is dedicated to symbolic representations of szczygieł (a goldfinch) in Polish language and culture, taking into account the European cultural background. The author presents the process of symbolization of the sacred and ludic profile of a goldfinch as a representative of avifauna based on linguistic data (etymology, phrasematics), text data (literature and folklore), as well as on iconography. References to Western European painting made it possible for the author to present the multiple layers of a goldfinch symbolism and related differences in the way of imaging, developing connotations and conceptualization of symbolic contents. The sacred imagery was dominated by Biblical associations, while in ludic images there was a tendency to present birds as autotelic beings without strictly religious connotations.
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Smith, Oliver D. "Nessie and Noctilucent Clouds." Coolabah, no. 34 (July 8, 2023): 25–45. http://dx.doi.org/10.1344/co20233425-45.
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Since the 1930s there have been over a thousand recorded sightings of monsters in Loch Ness, Scotland. The consensus of experts is these reports of mysterious creatures (known in Scottish Highlands folklore as Nessie) have mundane or prosaic explanations such as hoaxes, wakes, mirages, misidentifications of floating objects (e.g., natural debris, boats) and known native fauna (e.g., deer, otters, diving birds), opposed to extraordinary or unusual explanations such as exotic fauna, escaped animals from traveling circuses, relict plesiosaurs and unknown or elusive species (e.g., ‘long-necked’ pinniped, giant eel). After providing an overview of the different hypotheses and a history of the search for the Loch Ness Monster – the author of this paper argues a rare meteorological phenomenon might explain some monster sightings in the loch during twilight hours between May and August – reflections of noctilucent clouds (NLCs).
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Khaninova, Rimma. "The Crane’s Curse (Kharal) in Kalmyk Poetry, 20th – Early 21st Centuries: Analyzing the Motif." Бюллетень Калмыцкого научного центра Российской академии наук 3, no. 23 (November 3, 2022): 144–70. http://dx.doi.org/10.22162/2587-6503-2022-3-23-144-170.
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Introduction. In 20th/21st-century Kalmyk poetry, the crane theme — like any other involving bird images — serves to symbolically address the fauna of the steppe region, native land, and ancestral home. Goals. The article aims to analyze Kalmyk poetic texts for the motif of the crane’s curse and/or revenge caused by the death of chicks, that of the spouse, and related grief, sadness, and loneliness of the bird. Both the motif and the crane theme in Kalmyk lyrics at large have never been subject to research. Methods. The work employs the historical/literary, comparative, and descriptive methods. Results. The paper begins with insights into oral folklore traditions of Kalmyks, Mongolians and Buryats for the crane theme, associated customs, rituals and superstitions, which makes it possible to identify key crane-based plots and images for further comparative analyses into Kalmyk poems authored by representatives of different generations, and corresponding Russian translations. The study of the previously unknown Kalmyk legend of the crane’s curse recorded by N. Khatuev from his father and preserved in the poem, firstly, introduces this plot into scientific circulation; secondly, clarifies the motif of the crane’s curse, death, loneliness, revenge or defenselessness of birds from evil in Kalmyk lyrics; thirdly, adds new nuances to descriptions of historical events (Great Patriotic War, Kalmyk Deportation) ― cranes to stand for souls of deceased persons. Conclusions. The poems by N. Khatuev, A. Suseev, B. Dordzhiev, M. Khoninov, T. Bembeev, and E. Eldyshev, on the one hand, continue the folklore tradition in 20th/21st-century Kalmyk poetry, while, on the other hand, show transformations and innovations in the crane theme. The adherence to ethnic versification patterns in examined works also conveys certain peculiarities of the authors’ individual styles. Russian translations of the original Kalmyk poetic texts are not that precise to articulate the declared motifs, being different enough both in form and content. Investigation of the crane theme in modern Kalmyk poetry can be continued through the involvement of other motifs, including in the folklore aspect.
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Ilimbetova, Azaliya Fattakhovna, and Elza Venerovna Migranova. "Historical roots of the folk holiday Kargatuy («Crow’s wedding») among the Bashkirs." Samara Journal of Science 10, no. 2 (June 1, 2021): 215–20. http://dx.doi.org/10.17816/snv2021102214.
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There is a developed system of cult ideas about birds in the religious and mythological views of the Bashkirs. One of the birds revered by the Bashkirs is the crow. The most ancient roots of the holiday and rituals associated with this bird originate in totemic representations of the distant ancestors of the Bashkirs. The ancient historical roots of the worship of crows are evidenced, in particular, by the Bashkir folk holiday Kargatuy (Crows wedding), which existed in the past and is being revived today (in some areas of the Republic of Bashkortostan called Karga butkahy (Crows Porridge)). Kargatui was usually held in the spring and marked a revival of nature. On the basis of folklore and ethnographic sources, it seems possible to trace the evolution and subsequent transformation of this holiday and the rituals performed on them. In this Bashkir holiday, elements of totemic holidays have survived to our days, the main purpose of which was to honor the crow - a totem bird with invocations-requests addressed to the sacred bird, the performance of rituals, thematic songs and dances (Raven chick, the performance of rituals of reproduction of the totem bird a manifestation of care for it, communion with a totem and with rituals of initiation of girls into the category of full members of women collective.
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Хисаока, Каэ. "Japanese clappers sasara and naruko." Музыкальное искусство Евразии. Традиции и современность, no. 2(7) (July 3, 2022): 55–63. http://dx.doi.org/10.26176/maetam.2022.7.2.004.
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Статья посвящена японским клапперам - самозвучащим инструментам, широко распространенным по всей Евразии. Считается, что такого рода изделия родились в древности на Ближнем Востоке. В Японии бытуют клапперы сасара и наруко . В настоящей работе описано применение сасары в народной песне кокирико-буси . В Японии этот клаппер тесно связан с выращиванием риса. Представлен жанр танцевального фольклора, ёсакой-буси , в котором применяется наруко, изначально использовавшийся для отгона птиц с рисовых полей The article is devoted to Japanese clappers - self-sounding instruments widely distributed throughout Eurasia. It is believed that such products were born in ancient times in theMiddle East. There are Sasara and naruko clappers in Japan. This paper describes the use of sasara in the folk song kokiriko-bushi. In Japan, this clapper is closely related to rice cultivation. The genre of dance folklore, yesakoi-bushi, is presented, in which naruko is used, originally used to drive birds from rice fields
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Kvangraven, Endre Harvold. "Emplacement and Narrative Identity in Tomas Bannerhed’s "Korparna"." Ecozon@: European Journal of Literature, Culture and Environment 14, no. 2 (October 29, 2023): 161–76. http://dx.doi.org/10.37536/ecozona.2023.14.2.4903.
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In Tomas Bannerhed’s Korparna (The Ravens, 2011), birds and trees not only function as backdrop and setting but contribute toward forming the characters’ narrative identities and sense of place. As this is partly based on cultural values and traditions, I explore historical and literary sources from Småland—the historical province in Sweden where Korparna is set—to assess how Bannerhed interprets and elaborates on them. Drawing on Forrest Clingerman’s concept of “emplacement,” I explicate the interplay between conflicting environmental interpretations, recognizing that places can be described based on the historical record or on ornithological and botanical data, but that folklore and mythology also contribute to local meaning-making. In the context of Korparna, I argue that birding can be a meaningful way of engaging with place, a form of naturalist enthusiasm that fosters deep local knowledge. Finally, I show that relations with nonhumans can be constitutive to a variety of conflicting but partly overlapping environmental identities.
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Bembeev, Evgeny V. "Научно-популярный журнал «Хан Тэнгэр» как источник по изучению несказочной прозы ойратов Синьцзян-Уйгурского автономного района Китайской Народной Республики." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (December 20, 2020): 123–40. http://dx.doi.org/10.22162/2587-6503-2020-1-13-123-140.
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The popular scientific journal “Khan Tenger” is an important and valuable source for the study of the folklore of the Oirats of the PRC. This periodical is devoted to the study of the culture and language of the Oirats living in the PRC (XUAR PRC, Inner Mongolia Autonomous Region) was published in the period from 1981 to 1993 by the Xinjiang People’s Publishing House (Šinǰiyang-giyin aradiyin keble-liyin xorō) in Urumqi city. The journal was published four times a year in the Oirat “clear script” and is a unique collection of the best examples of oral folk art of the Oirats of the XUAR of the PRC. The article examines some genres of non-fairytale prose of the Oirats of the XUAR of the PRC, recorded in the Khan Tenger journal. Non-fairytale prose is the richest heritage which contains the ancient beliefs of ancestors, moral norms and historical memory of the Oirats. A large number of cosmogonic myths about the creation of the world, the origin of the earth, sky, stars, sun, moon, as well as etiological myths about the origin and characteristics of animals, birds, insects, plants, and natural phenomena are published on the pages of the Khan Tenger journal. Legends and traditions reproduce the historical reality in the refraction of people’s mind through their vision and assessment. They have absorbed archaic elements that characterize the mythological consciousness and the ancient views of distant ancestors. The publication of texts of myths, legends and traditions will help to fill in the “white spots” in the genre system of the folklore of the Oirats, will help to study the spiritual culture of the Mongol-speaking peoples.
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Osypenko, Viktoriia. "Actualization of folklore prototype images in the philosophical concept of Yurii Alzhniev’s Song Symphony “Behind the Milky Way...”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (April 29, 2024): 122–39. http://dx.doi.org/10.34064/khnum1-70.07.
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Statement of the problem. Objectives, methods, and novelty of the research. The experience of studying the archetypes of the culture of Slobozhanshchyna region is offered, through the understanding of their role in the conception of the recent composition by contemporary Ukrainian artist Yuriy Alzhniev. Specific examples of borrowing samples of folk songs from Slobozhanshchyna (the ballad “How a grey eagle competed with a grey horse” from the repertoire of kobzars; the chumak song “Hey, our chumaks were on their way”, the allegorical song “Oh, woe to that seagull”) reveal value and meaning orientations of the artist with the aim of prolonging “historical memory” in the most recent history of music. In this sense, Slobidska Ukraine has historical, stylistic and genre priorities fixed in the folk song tradition, which has never been interrupted (even during the Soviet statehood). This is evidenced by the funds of folklore laboratories of higher educational establishments (in particular, Kharkiv I. P. Kotlyarevsky National University of Arts, and the House of Folk Art). The heart of the interaction of the folk song tradition and academic music is Slobozhanshchyna singing, which is a vast genre-stylistic system. Therefore, musicologists should generalize the conceptual foundations of the creative work of those artists who continue the Slobozhanshchyna tradition. Yuriy Alzhniev occupies an honourable place among them. His resent symphony belongs to the “Slobozhanshchyna text”. The latter is a term of musical regional science, which means a collective product of folk art continuing its existence in the creative work of modern composers of Eastern Ukraine. Thus, we are talking about the actualization of Slobozhanshchyna folklore in the symphonic genre. Despite precise instructions regarding which folkloric sources (chants, genres) the composer used to build the original concept of the Symphony (Osadcha, 2019; Kliuka, 2023), in our opinion, the folkloric layer of his dramaturgy still remained undervalued by musicologists. The specifics of Yu. Alzhniev’s composition determined our research methods: the historiographic one is addressed to the genres of the folk song tradition; the intonation one allows to highlight the linguistic and stylistic polylogue of the folk song and the artist’s symphonic thinking; and the comparative one reveals the kinship and differences of folklore sources in the context of their composer interpretation. Research results. Folkloric images in the Song Symphony have a poetic-verbal and purely musical origin. So, in the examples of Ukrainian calendar-ritual poetry, eagles plow the land and carry water. In the Slobozhanshchyna region version of the folk ballad used by the composer the eagle’s wings are a symbol of spiritual flight, heavenly destination, and the strength of the horse’s legs is a symbol of life forces, endurance, and earthly way.The central in the composition ones are: the folkloric motives of fraternity in the journeys in search of happiness, a mandate to take care of small children; the symbol of Milky Way as a God’s Path, the heavenly route of birds and human souls. The latter symbol is revealed by one of the brightest genres of the folk song tradition of Sloboda Ukraine – the chumak songs, unique in the world folklore the songs of the strangers in their journeys. Among many, the composer chosen the song “Hey, our chumaks were on their way” for the key image of the third (choral) movement of the Symphony. The symbolism of the folkloric archetype of the road got a double code: the road as the destiny of every Ukrainian; the Milky Way (called “Chumak Way” in the Ukrainian folklore) as a symbol of national culture, which connects the historical path of Ukraine and the personal destiny of the Cultural Hero of the Symphony to Truth, Divine Light. It is no accident that the author refers to the song “Oh, woe to that seagull”, which became a symbol of the historical fate of Ukraine, the search by folk singers for nationality, self-identity. This song is consonant with chumak ones and folk ballads based on the motif of the care of little children while the father is looking for his fortune in a foreign land. Expressive singing contains a formula that in the Symphony performs the function of the author’s monogram, combining the thematic structure of all the movements of the Symphony. The values of traditional culture are a source of Yurii Alzhniev’s creativity. The idea of consonance, on which the Symphony’s conception based, means the special state of a human in unity with the nature. The musical folk intonation of “sub-fourth” (ascending fourth + descending second) serves as the “code” to understanding “consonance”, connection of the Ancient and Present. The composer widely uses semitone-free scales, notes the power of their influence in folk songs. For him, it is a sign of inviolability, globality, infinity of the unknown, “invisible world” (according to H. Skovoroda). The semitone-free movement of the rising chorus of the ballad (“And he argued, competed...”) gives a sense of the immensity of the space in which the heroes of folk poetry exist, as the personification of the heavenly and earthly purpose of life. The iconic nature of the genre, determined by its functionality, is consciously modelled by the composer in order to create a nationally defined musical and linguistic picture of the world. Conclusion. Yu. Alzhniev’s Song Symphony musical-philosophical conception gravitates to that spiritual tradition, in which a human is considered as the embodiment of the nation, and the art is considered as the platform for the synthesis of folkloric archetypes and individual composer creativity. The indicated signs of the folk song tradition, crystallized in the thousand-year evolutional move by steps of typifying (intonation-genre and figurative), with their natural energy, which awakes the subconscious, nourish the semantics of the author’s language. The complex of intonation signs operating at the level of genetic memory represents the archetype of “primary intonation” for the composer.
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Berezovich, Elena. "Gemstone Names from the Wörter und Sachen Perspective: On the Origin of Russian Orlets ‘Rhodonite’." Antropologicheskij forum 17, no. 48 (2021): 115–43. http://dx.doi.org/10.31250/1815-8870-2021-17-48-115-143.
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The article considers the history of the word orlets, one of the names of rhodonite (located mainly in the Middle Urals). The author traces the changes in the semantics of this word from its first mention in Russian lexicography at the end of the 18th century to the present day, when it gained the status of obsolescence. Specifically, the author demonstrates that the meaning of ‘rhodonite’ was assigned to it only by the end of the 19th century. The paper presents and comments on the existing hypotheses of the origin of the name orlets: the widespread but scientifically untenable myth that eagles carry this stone to their nests; the idea that rhodonite is the preeminent stone (as the eagle is considered “the king of birds”) because of its beauty and value, and others. As the author demonstrates, the word orel — ‘eagle’ — is the actual generating stem for the name under discussion, but the motivation is revealed only based on a wide cultural and linguistic context. For its reconstruction, both linguistic semantic and motivational parallels — as well as extra-linguistic facts from the field of folklore and folk beliefs — are involved, confirming the stability of the symbolic links between “eagle” and “stone.” It is also important that stones, in this language, are additionally associated with images of other birds (cf., for example, the Russian lastochkin kamen’ “swallow stone”, the German Storchstein “stork stone”): the evidence presented in the article shows that these links can claim the status of a cultural universal. To demonstrate the occurrence of orlets in a number of names of stones derived from names of birds, the author superimposes the possible signs listed in the work, for which the stones received “bird” names, onto the properties of the stone that was originally presumably named orlets. The article contains extensive background information of a cultural and historical nature, as well as rich data from the field of Geology and Mineralogy, which are necessary for the verification of linguistic constructions.
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Klyucheva, M. A. "Zoonyms in the names of the characters in Mari folk games." Bulletin of Ugric studies 10, no. 3 (2020): 462–71. http://dx.doi.org/10.30624/2220-4156-2020-10-3-462-471.
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Introduction: zoonyms occupy important place in the semiotic system of folklore. They encode basic mythological ideas and, at the same time, reflect economic activity of people traditionally associated with animals. The game vocabulary correlates with the general system of folklore and mythology. Zoonyms are used in games as the names of characters, game items and toys, movements, as well as they are widely represented in texts of chits, game sentences, dialogues, songs. Objective: to reveal zoonyms in the names of the characters in the Mari folk games, to systematize them according to their functions, thematic groups and etymology. Research materials: almost the full volume of texts with descriptions of the Mari folk games is taken from publications in Russia and other countries, from the hand-written Archive of the Mari Research Institute of Language, Literature and History, field records, the personal collection of the author. Results and novelty of the research: the article for the first time reveals a complete system of zoonyms in the names of the characters of the Mari games. Their functions in the game are revealed: most often, zoonyms are used in the games like catch-up, blind man etc. as the name of the catcher, his antagonists, as well as an offensive nickname for the losing player; they also indicate the similarity of the movements of the gamer and the animal; used in round dances and imitative improvisational games. Thematically, most of them are the names of mammals and birds, which Mari children most often met in everyday life and in native nature. There are almost no names of reptiles, amphibians, fish and insects. Etymologically, most of the reviewed zoononyms are Turkic borrowings in the Mari language, fewer of them are words of Finno-Ugric origin and borrowings from Russian; and these data indirectly indicate the genesis of specific animal images in the Mari game culture.
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James, Stuart. "British Birds: 3rd edition98257Francesca Greenoak. British Birds: Their Folklore, Names and Literature 3rd edition. London: Christopher Helm/A & C Black 1997. 239 pp, ISBN: 0 7136 4814 7 £14.99 First published 1979 by Andre Deutsch as All The Birds of the Air." Reference Reviews 12, no. 5 (May 1998): 20–21. http://dx.doi.org/10.1108/rr.1998.12.5.20.257.
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Sodnompilova, Marina M. "«Язык» леса в информационном пространстве кочевой культуры на примере тюрко-монгольских народов." Монголоведение (Монгол судлал) 15, no. 1 (June 23, 2023): 129–41. http://dx.doi.org/10.22162/2500-1523-2023-1-129-141.
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Introduction. After Turko-Mongols inhabited forest landscapes of Siberia, positions of such primordial nomadic occupations as livestock breeding and hunting became somewhat equal. The ambiguous perceptions of forest also resulted in special attitudes towards the latter as an information space. So, in man-forest communication important messages would be articulated via a special ‘language’. Goals. The article attempts insights into this ‘language’ across different traditions of Siberia’s Turko-Mongols, examines diverse means of communicating and interpreting such information in traditional worldviews. Materials and methods. The study analyzes historical and ethnographic data published in works of researchers — ethnographers, historians, linguists, folklore materials. Particular attention is paid to the author’s field observations. The work employs both general research methods (analysis, analogy, etc.), and specifically those of historical science (e.g., historical-comparative one). Results. A surrounding world serves as a complicated information space abundant in various communication channels. Animals, birds, trees, atmospheric and natural phenomena tended to be perceived retransmission units. Conclusions. Man was to develop this information space through all senses. In communication with forest, representatives of the Turkic and Mongolic peoples attached great importance to visual, acoustic, olfactory, and sensory data.
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Asmaranty, Puspa Zanuar, Muakibatul Hasanah, and Heri Suwignyo. "Pengembangan Buku Cerita Berseri dengan Tema Altruisme untuk Pembelajaran Cerita Rakyat." Jurnal Pendidikan: Teori, Penelitian, dan Pengembangan 4, no. 10 (October 11, 2019): 1417. http://dx.doi.org/10.17977/jptpp.v4i10.12902.
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<pre><strong>Abstract:</strong> This study aims to develop a serial storybook with the theme of altruism for folklore learning. This study uses a 4D research and development model which consists of four steps, namely defining, designing, developing, and disseminating. This research produced four series of <em>Samas</em> books, namely (1) <em>Samas and the Three-Color Giant</em>, (2) <em>Samas and the Youngest Southeast Mountain</em>, (3) <em>Samas and Two-Headed Maleo Birds</em>, and (4) <em>Samas and Stone</em><em>-</em><em>Humans</em>. The results of the validity test show that the qualified product is feasible and ready to be implemented. Readability test results indicate that the product has a high level of readability. The effectiveness test results show that the product is effectively used in folklore learning.</pre><strong>Abstrak: </strong>Penelitian ini bertujuan mengembangkan buku cerita berseri dengan tema altruisme untuk pembelajaran cerita rakyat. Penelitian ini menggunakan model penelitian dan pengembangan <em>4D </em><em>yang </em><em>terdiri atas</em> empat langkah, yaitu pendefinisian, perancangan, pengembangan, dan diseminasi. Penelitian ini menghasilkan empat seri buku <em>Samas, </em>yaitu (1) <em>Samas dan Raksasa Tiga Warna, </em>(2) <em>Samas dan Si Bungsu Gunung Tenggara, </em>(3) <em>Samas dan Burung Maleo Berkepala Dua, </em>dan (4) <em>Samas dan</em> <em>Manusia-Manusia Batu</em>. Hasil uji validitas menunjukkan bahwa produk berkualifikasi layak dan siap diimplementasikan. Hasil uji keterbacaan menunjukkan bahwa produk memiliki tingkat keterbacaan tinggi. Hasil uji keefektifan menunjukkan bahwa produk efektif digunakan dalam pembelajaran cerita rakyat di SMPN 18 Malang.
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Orgad, Zvi. "Prey of Pray: Allegorizing the Liturgical Practice." Arts 9, no. 1 (December 30, 2019): 3. http://dx.doi.org/10.3390/arts9010003.
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Numerous images embedded in the painted decorations in early modern Central and Eastern European synagogues conveyed allegorical messages to the congregation. The symbolism was derived from biblical verses, stories, legends, and prayers, and sometimes different allegories were combined to develop coherent stories. In the present case study, which concerns a bird, seemingly a nocturnal raptor, depicted on the ceiling of the Unterlimpurg Synagogue, I explore the symbolism of this image in the contexts of liturgy, eschatology, and folklore. I undertake a comparative analysis of paintings in medieval and early modern illuminated manuscripts—both Christian and Jewish—and in synagogues in both Eastern and Central Europe. I argue that in some Hebrew illuminated manuscripts and synagogue paintings, nocturnal birds of prey may have been positive representations of the Jewish people, rather than simply a response to their negative image in Christian literature and art, but also a symbol of redemption. In the Unterlimpurg Synagogue, the night bird of prey, combined with other symbolic elements, represented a complex allegoric picture of redemption, possibly implying the image of King David and the kabbalistic nighttime prayer Tikkun Ḥaẓot. This case study demonstrates the way in which early modern synagogue painters created allegoric paintings that captured contemporary religious and mystical ideas and liturgical developments.
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Plachovičiūtė, Diana. "Crow and Raven in Lithuanian and Slavic Phraseology and Ethnic Culture." Slavistica Vilnensis 68, no. 2 (February 21, 2024): 101–14. http://dx.doi.org/10.15388/slavviln.2023.68(2).8.
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The aim of the article is to explore whether the image of the crow and raven in Lithuanian phraseology and ethnic culture is similar to that of its Slavic neighbors or exhibits distinctive characteristics. The research material includes phraseological units in Lithuanian, Polish, Belarusian, and Russian with the components crow and raven. The analysis encompasses phraseologisms found in both vernacular and literary sources, applying the theory of conventional figurative language and the comparative method. Special attention is given to the portrayal of crows and ravens in folklore and folk beliefs. The findings reveal a predominantly negative perception of both birds in Lithuanian and Slavic phraseology and ethnic culture. The main features of the image of a crow and raven, which have developed in Lithuanian and Slavic phraseology and ethnic culture, are based on such characteristics as: black feathers, predatory behaviour, an unpleasant voice (the cry is mythologized, and it is associated with misfortunes and death). The image of the crow is often ironic and comical, while the image of the raven is much more negative. The crow is a cultural symbol of foolishness, while the raven is associated with wisdom. However, both Lithuanian and Slavic phraseology have their own peculiar images of the crow and the raven.
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Trasūns, Toms. "CONCEPT OF CRANE IN LATGALIAN CULTURAL SPACE." Via Latgalica, no. 11 (February 20, 2018): 80. http://dx.doi.org/10.17770/latg2018.11.3068.
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As modern science is increasingly seeking to look across the boundaries of one branch and become interdisciplinary, linguacultural approach, comprising more than one scientific discipline, makes research more widespread and more practical, and with the increase of the role of technologies in human life, the way of life changes and the need for anthropological research arises that directly or indirectly enables modern man to maintain the system of values and to create an orderly environment, understanding the regularities of its formation. Exploring the cultural landscape, the human connection with the environment is studied, and such approach is both anthropocentric and interdisciplinary, and today it has gained a broad perspective. The article is based on the understanding of linguacultural concept, and bird is viewed as a concept of cultural identity of Latgale, analysed in its semantic and symbolic manifestations in the context of the cultural landscape of Latgale. Although the study has been carried out on several species of birds (crane, mallard, stork, raven and hawk), this article will focus on the concept of crane. To discover the concept of crane in its diversity, it is seen at three levels, according to the perception of the lexeme crane in folklore, Latgalian literature and the modern social sphere, mainly in place names or names of organizations. In the sources of folklore crane was identified 35 times. Of these, 18 times it was mentioned in folk songs, it was present only in two fairy tales (in one fairy tale the word crane may be repeated many times), as well as in 3 parables, which include one belief and two proverbs. In folk songs, to describe crane, the external characteristics of the bird are emphasized, the physical field of verbs dominates, characteristic features – the long beak and legs. In folk songs the beauty of crane is often used as a comparison to describe an externally handsome young woman or man who lives a life that does not match the morality of the time: if they do not want to marry; if they do not live with honour; or if they live unwisely, etc. This exclusion of a person is described in comparison with the frequent location of cranes (most often young women, less often young men) – a swamp, a marshland. In other folk songs, the long legs of the crane are praised, which help it to wade through the bog. It should be noted that in folklore crane very rarely (only in two units) is referred to as a bird of passage. In folk tales (lexeme crane found in 2 folk tales) the meaning of this lexeme changes: the bird teaches the fox a lesson; also a motif appears in which a boy makes a wooden crane that serves as a vehicle. In general, in folk songs, the meaning of this bird is much more extensive in comparison to other genres, not only the lexical meaning appears but also the meaning transfer, therefore it is possible to acknowledge the formation of the concept of crane. In the sources of Latgalian literature, lexeme crane was identified in 24 word uses in eight sources of literature, suggesting that in literature this is a relatively commonly used image or artistic language means. In the excerpted material, the word crane appears 17 times in the semantic function of the subject, four times in the function of the object and three times in the semantic function of a sign. It is possible to find that in the contemporary Latgalian literature the perception of crane has lost its exactness, at the same time there is a vast emphasis on the meaning of the semantics of the bird of passage in the image of crane, which has not been emphasized in folklore, also there is an obvious association with exiles returning to Latvia after the restoration of independence. This image in action semantically has kept the same fields – the physical and the social, which are also evident in folklore, however, by analysing it in more detail, there are changes of the abovementioned meanings at the symbolic and allegorical level. The signs also indicate that perception of the image of crane in contemporary Latgalian literature, which was found in folklore, has basically been lost. The name of crane is quite often used in the names of companies and place names. It is not evident that in this sphere crane has any symbolic meaning, as the main reason for its use is crane’s habitat, but the variety of its names indicates that the image of crane is lively and changeable.
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Shitova, N. I. "Symbolic Expression of the Heavenly Eden Image in the Traditional Culture of the Uimon Old-Believers." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 861–68. http://dx.doi.org/10.17746/2658-6193.2021.27.0861-0868.
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The work was carried out in order to identify patterns for the preservation and updating of some images and symbols expressed in the embroidery ornament. The research is based on materials of the Uimon Old-Believers culture, which is represented in the Uimon Valley of the Altai Mountains. We carried out a comprehensive analysis of the author’s field ethnographic materials of different years, unpublished archival folklore records and museum samples. It has been established that using images of Eden-related birds and plants (grapes, roses, and other flowers), folk ideas about Heavenly Eden are expressed in spiritual verses. These ideas correspond to the symbolic meaning of some ornamental patterns in women’s needlework. A composition on a wall towel consisting of grape and flower vine and paradise birds was interpreted as a folk image of Heavenly Eden. The author performs a comparative analysis of images of Heavenly Eden in the culture of the Uimon Old-Believers and materials of the ornament of women’s needlework in Altai Mountains. Based on the materials of women’s needlework in Altai Mountains, the floristic ornament significantly prevailing among all others more often contains motifs with a vine and a rosevine, as well as a flower vine with the images of other flowers. When combining these varieties of ornament into a semantically unified ornamental group “plant vines”, the fact of a significant predominance of this group among other fixed ornamental groups of motifs is obvious. The ideas of the plants as attributes of Heavenly Eden, the semantic correlation of Heavenly Eden and the garden of the earth probably played a special role in the prevalence of images of grapes, roses, and other flowers as well as their stable presence in ornamentation in women’s needlework. Culture bearers could use the motif of the plant vine as an expression of spiritual aspirations, which are also manifested in perception and aesthetic value of the ornament.
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Шейкин, Юрий Ильич, Оксана Эдуардовна Добжанская, and Татьяна Иннокентьевна Игнатьева. "Sound tools and musical instruments of the Chukchi: The archaic layer." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 4 (December 25, 2019): 11–21. http://dx.doi.org/10.26158/tk.2019.20.4.001.
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В статье описываются фоноинструменты, относящиеся к архаичному этапу развития музыкальной культуры чукчей. Данный подход применен к рассмотрению фоноинструментария чукчей впервые в музыковедческой науке. Методологическими основами исследования являются регионально-историческая типология музыкального фольклора Ю. И. Шейкина, органологическая систематика музыкальных инструментов Э. М. фон Хорнбостеля и К. Закса. Статья основана на полевых материалах авторов и опубликованных источниках. Архаичные фоноинструменты чукчей по функции связаны с промыслово-хозяйственной деятельностью и обрядами. Они играли роль сигнальных звуковых орудий в охотничьих промыслах, пастьбе оленей, имитировали голоса животных и птиц в обрядах. В настоящее время многие архаичные звуковые орудия утратили обрядовое назначение и сохранились в культуре как детские игрушки. В статье описаны идиофоны, свободные аэрофоны, свистки и пищалки, сосудные флейты из кости, приведены данные по инструментам-предшественникам мембранофонов и хордофонов. Материалы статьи открывают перспективу рассмотрения музыкальных и фоноинструментов чукчей с точки зрения эволюции музыкальной культуры этого народа, в последовательности этапов фольклорной архаики, традиции, профессионализации, инновации. This article describes the musical instruments and sound tools belonging to the archaic stage of development of Chukchi musical culture. This is the first time in musicology that an historical approach has been applied to Chukchi musical instruments. The study’s methodology relies on Yu. I. Sheikin’s regional and historical typology of musical folklore and on the classification of musical instruments created by E. von Hornbostel and K. Sachs. Its content is based on the authors’ field research and on published sources. Chukchi archaic phono-instruments are connected with economic activities (hunting, pastoral farming etc.) and with various rituals. They played an important role as tools for signaling during sea animal hunting, reindeer herding, and also imitated the voices of animals and birds during rituals. In modern culture, many archaic sound tools have lost their ritual purposes and have been preserved only as children’s toys. The article describes many idiophones, free aerophones, whistles, tweeters, and flutes made of bone. There is also some information about early membranophones and chordophones. The material presented opens up the prospect of investigating musical instruments from a new point of view - as material evidence of the evolution of Chukchi musical culture (in a continuum of four stages: folklore-archaic, tradition, professionalization, innovation).
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Ubushieva, Danara V. "Инедиты калмыцкого фольклора из фонда И. И. Попова: тематическая классификация образцов устной несказочной прозы." Бюллетень Калмыцкого научного центра Российской академии наук 15, no. 3 (November 25, 2020): 233–50. http://dx.doi.org/10.22162/2587-6503-2020-3-15-233-250.
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The purpose of the article is to classify samples of oral non-fabulous prose recorded by I. I. Popov, based on a generally accepted comparative approach. The material for the study was the manuscript notebook “Old legends of the Don Kalmyks in the original Kalmyk texts and Russian translation” from the collection of Don Kalmyks folklore collector I. I. Popov. Results. The thematic classification of samples of oral non-fabulous prose of Don Kalmyks has the following structure: six myths (five etiological myths about the origin and features of animals, birds, insects, plants, nature phenomena and one calendar myth), seven stories (two of religious content and four — historical), two legends about the origin of customs, rites, rituals and one sample could not be classified as it is incomplete. Hence, out of seventeen samples — nine (No. 3, 4, 5a, 6, 7, 8, 11, 12, 13) do not have any variations and some of them are included into the collections “Seven Stars” and “Myths, Legends and Traditions of Kalmyks”. There are variations or versions for seven samples (No. 1, 2, 5b, 9, 10, 14, 15); however, it should be noted that some samples have not been published in I. I. Popov’s recordings, and are published in the recordings of other collectors. One sample (No. 16) is not classified, thus, there are certain difficulties in the analysis of its variants or versions.
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Bodnar, Tetiana. "Phrases of western podil divinations with the motives of finding a child." Linguistics, no. 1 (45) (2022): 37–44. http://dx.doi.org/10.12958/2227-2631-2021-1-45-37-44.
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The article, based on the analysis of field ethnographic, folklore, dialectological data from Podillya, considers the nominations of traditional Ukrainian rites associated with the birth of a child, compares the phraseological units with the motive of finding a child. The material of the research was the author's records of phraseology according to a special program-questionnaire on the territory of Western Podillya (southern districts of Khmelnytsky region and eastern districts of Ternopil region). Emphasis is placed on the constant expressions of the traditional birth rite with attention to semantics, elements of spiritual and material culture. There are four groups of FD with the motive of finding a child: in different natural and landscape formations; in the aquatic environment, or nearby structures; in the building, its parts, adjacent buildings, household items, clothing (shoes); to denote a gift (tossing, sending, bringing, buying). Each group of FDs is divided into subgroups, which allow a clearer division of phrases on a figurative basis. Ethnographic dictionaries clarify the symbolism of the components of phraseological units: peas, cabbage, burdock, water, stork, angel, egg, well, river. It is determined that among the studied phraseological units the components with the highest variability of the child are distinguished by birds. A significant number of verbs to denote ways to find a child (found, bought, caught, brought, caught, got out, etc.) was found.