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1
Bakaeva, Elza P. "Нойон Галдама в письменной и народной традиции монгольских народов." Oriental Studies 15, no. 6 (December 29, 2022): 1271–92. http://dx.doi.org/10.22162/2619-0990-2022-64-6-1271-1292.
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Introduction. Oirat old-script texts tell us about the prominent historical figure of Noyon Galdma (Kalm., Oir. Һалдма, Һалдмба; Mong. Галдамаа, Галдамбаа), son of Khan Ochirtu-Tsetsen, grandson of Khan Baibagas of the Khoshuts and Khong Tayiji Erdeni-Baatar of Dzungaria. The image and memory of Galdama has been preserved in oral folklore of Mongols. Goals. The article attempts a review of studies to have dealt with Galdama, seeks to analyze the reasons underlying his popularity in Mongolic folklore traditions, and reveal peculiarities of the image characteristic of different genres. Results. The historical figure — the son of Khan Ochirtu-Tsetsen — is widely known in written and oral traditions of Mongolic peoples, e.g., Galdama is mentioned in Ratnabhadra’s Biography of Zaya Pandita and other narratives. Mongolists have been dealing with epic songs of Galdama for over a century already, a total of circa twenty legends about this hero have been recorded. The seventeenth-century Oirat nobleman’s name is nowadays integral to diverse Mongolic cultures, such as Kalmyks and Buryats of Russia, Oirats of Western Mongolia and China’s Xinjiang (Torghuts, Upper Mongols, Olots), as well as Alasha Khoshuts and Ejine Torghuts inhabiting Inner Mongolia (PRC). So, versions of Galdma-related songs number over thirty. Conclusions. The dissemination of folklore texts centered around the renown protector of native territories believed to have been a skilful warrior and chieftain of border detachments is associated with the theme of homeland defense that was most urgent during the lifetime of Noyon Galdama (1635–1667) — when all Mongols faced an increasing threat of Manchu invasion, and the Congress of 1640 developed The Great Code of Laws that proclaimed defense of Mongol-inhabited domains a supreme goal and virtue. Mythologization of Galdama’s image also attests to the significance of his personality in Oirat history, which can be traced in Oirat folklore heritage.
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Цыбикова, Бадма-Ханда Бадмадоржиевна. "Folklore and Ethno-Cultural Traditions of the Buryats of China and Russia." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2022): 131–42. http://dx.doi.org/10.26158/tk.2022.23.2.011.
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В статье проведено исследование жанров несказочной прозы, народной песенной культуры, малых жанров фольклора локальной группы бурят, живущих в Китае, в сравнении с фольклором российских бурят. Охарактеризованы локальные особенности традиционного фольклора зарубежных бурят, определены универсальные архетипы, общебурятские сюжеты и мотивы. Анализ этнокультуры бурят Китая на фоне общебурятской и в целом монгольской традиций позволил выявить общий пласт мифологии и фольклора, наличие типологических параллелей, существующих в фольклоре и культуре монгольских народов, сохранность и преемственность элементов материнской традиции. Рассмотренной в статье обрядово-ритуальной практике бурят Внутренней Монголии в сравнении с обрядами жизненного цикла российских бурят присущи черты общности и самобытности в проведении свадебных и погребальных мероприятий. Наряду с выявлением наиболее устойчивых компонентов в бурятских эпических произведениях, сказках, несказочной прозе, песенной культуре, паремийных жанрах установлено локальное своеобразие этих жанров в анклавной традиции. Сравнительный анализ сохранности и трансформации фольклора и культуры бурят в иноэтнической и материнской среде показывал общность бурятского и монгольского художественного наследия. При оценке буддизма как культурообразующего компонента бурят сделан вывод о наличии буддийских компонентов во всех традиционных фольклорных жанрах, в то же время в устной прозе зарубежных бурят обнаруживаются добуддийские представления и шаманистские составляющие религиозного сознания, связанные с культами неба, огня, воды, духов местности. Материалы «живых» традиций бурят Китая, обследованных как предмет фольклористики и этнографии, позволили дать семантико-функциональную характеристику текстам устной прозы. This article examines the non-fictional prose, folk song culture, and small folkloric genres of a group of Buryats living in China in comparison with the folklore of Buryats in Russia. It examines the local features of the traditional folklore of Chinese Buryats as well as universal archetypes, common Buryat plots and motifs. Analysis of the ethnic culture of Chinese Buryats against the background of Buryat and Mongol traditions reveals a common stratum of mythology and folklore, typological parallels as well as continuity of the elements of the parent tradition. In conducting wedding and funeral ceremonies, the ritual practice of the Buryats of Inner Mongolia and of Russian Buryats show both common and individual features. Along with identifying the most stable components in Buryat epics, fairy tales, non-fairytale prose, song culture, and paremic genres, the article establishes the local uniqueness of these genres in the enclave tradition. Comparative analysis of Buryat folklore and culture in both the foreign and the home ethnic environment shows the commonality of the Buryat and Mongol artistic heritage. Evaluating Buddhism as a culture-forming component of the Buryats, the author concludes that Buddhist components exist in all traditional folklore genres, while in the oral prose of foreign Buryats there were found pre-Buddhist ideas and shamanistic components of religious consciousness associated with veneration of the cult of the sky, fire, water, and local spirits. The materials of the “living” traditions of the Buryats of China, studied as a subject of folklore and ethnography, make it possible to give a semantic and functional description of the verbal texts of oral prose.
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Pashtakova, Tatuna N. "Архаический сюжет о брате и сестре в алтайском и бурятском героических сказаниях." Бюллетень Калмыцкого научного центра Российской академии наук, no. 1 (December 20, 2020): 104–12. http://dx.doi.org/10.22162/2587-6503-2020-1-13-104-112.
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In the fairytale and epic folklore of the Siberian nations there are many similar motifs and storylines. One of these similar and quite wide-spread in the fairytale folklore storylines is the storyline of a “brother and sister”. This article gives the comparative analysis of the Altai and Buryat legends on the topic ‘a brother and sister’ in the context of epic texts of other Turkic-Mongol nations. Pointing out similarities and differences on the example of the specific texts, the author identifies the general story line that is almost identical in them. Consequently, the author comes to a conclusion that there are common archaic roots of the oral folklore of both nations that are separate not only historically but also land-wise.
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Churakov, Vladimir Sergeevich. "ON THE QUESTION OF THE HISTORICAL BASIS OF SOME UDMURT LEGENDS AND STORIES." Historical and cultural heritage 14, no. 1 (2024): 27–35. http://dx.doi.org/10.62669/30342139.2024.1.2.
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Due to the insufficient amount of written evidence covering a particular chronological period, researchers are forced to resort, among others, to the help of folklore sources. In this article the author tried to identify the real historical basis of the plots of a number of Udmurt folklore works, which are often used to illustrate the history of interaction between the Udmurts and the peoples and states of the Middle Volga region in the period of the X–XVI centuries. As the research has shown, the considered historical stories and legends actually reflect historical events dating back to the period of the XVII–XIX centuries. In a number of cases, significant authorial interference in the plot of folklore works was revealed. Thus, the analyzed historical stories and legends cannot be used to highlight events dating back to the existence of the Volga-Kama Bulgaria, the Mongol conquests of Eastern Europe, as well as to the Golden Horde and Kazan periods of the history of the Middle Volga region.
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Freni, Giulia. "Il folklore lunare nel mondo greco tra agricoltura, medicina e metamorfosi." Myrtia 37 (November 28, 2022): 26–42. http://dx.doi.org/10.6018/myrtia.489001.
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Nel pantheongreco, a differenza di quello romano, la luna aveva un ruolo marginale e popolare, cosa che risulta sia dalle credenze ad essa legate così come dal suo culto. A partire datale percezione della luna, il presente articolo si propone di illustrare alcuni aspetti del folklore lunare greco, mostrando come certe tradizioni antiche siano vive ancora oggi, soprattutto in alcune aree dell’Italia meridionale. En el panteón griego, a diferencia del romano, la luna tenía un papel marginal y popular, lo que se manifiesta tanto en las creencias asociadas a ella como en su culto. Al señalaresta percepción de la luna, este artículo pretende ilustrar algunos aspectosdel folclore lunar griego, mostrando cómo ciertas tradiciones antiguas siguen vivas hoy en día, especialmente en ciertas zonas del sur de Italia.
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Khaninova, Rimma M. "Жанр йорял в калмыцкой поэзии ХХ в. (по материалам газетной периодики 1930–1940-х гг.)." Oriental studies 15, no. 2 (July 15, 2022): 397–413. http://dx.doi.org/10.22162/2619-0990-2022-60-2-397-413.
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Introduction. In folklore of Mongolic peoples, well-wishes are referred to as ritual poetry. This is one of the ancient, surviving and widespread genres to have essentially preserved the idea of word magic. It has undergone some changes but still articulates benevolent messages towards future. The Mongolian ерɵɵл (derived from Mong. ерɵɵ ‘bless, wish well, greet’), Kalmyk йɵрəл (from Kalm. йɵрǝх), and Buryat үрээрнууд address family life, nature, society, state, universe to narrate the history, lifestyles, culture, and philosophy of the ethnos. The article proves topical enough since yöräls by 20th century Kalmyk poets created on the basis of folklore analogues through interactions of oral folklore art and literature remain unexplored. Goals. The study aims at identifying and clarifying the genre differentiation of Kalmyk poets’ yöräls, thematic classification, poetics of texts. Materials and methods. The paper examines folklore and literary works from newspapers of the 1930s and 1940s. The historical/functional method shows perceptions of authorial yöräls through time. A comparative approach makes it possible to trace ties between folklore analogues and literary texts, investigates traditions and innovations — both in form and in contents — of the new yöräls by Kalmyk poets. The textual analysis reveals common features and differences of folklore and literary works of this genre. Results. In newspapers of those years, the work discovers yöräls authored by Kalmyk poets to be classified as ‘shin yöräl’ (‘new well wishes’) that served to reflect actual realities. Conclusions. While ancient yöräls had a short and spatial poetic form, the new ones of S. Kalyaev, Ts. Ledzhinov, L. Indzhiev, B. Dordzhiev, Kh. Syan-Belgin, M. Khoninov, D. Kugultinov, E. Kekteev, and K. Erendzhenov tended towards larger volumes, lexical diversity, sociopolitical and ideological orientation, thus showing a connection with modernity and enriching the genre system of Kalmyk poetry. Another scientific problem is Russian translation of the Kalmyk authors’ poetic well wishes.
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Dyadyscheva-Rosovetska, Yuliya. "Stylistic features of Cyrillic graffiti of the pre-Mongol period in Kyiv St. Sophia's Cathedral." Actual issues of Ukrainian linguistics: theory and practice, no. 36 (2018): 19–37. http://dx.doi.org/10.17721/apultp.2018.36.19-37.
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The article examines the peculiarity of the concept of the linguistic style of the literature of Kyiv Rus, which is closely linked with the traditions of the scientific study of this very “red writing”. The specificity of Old Russian literature as medieval leads to its almost church character, and the specific "simplicity" in the structure of secular literary works of its own, such as "The Word of the Igor's Regiment," forcing researchers to engage in secular business texts, for example, the chronicles that are works of historical the genre. That is, in this case, the peculiarity of the concept of literary language reflecting the peculiarity of the notion of ancient Russian literature, which is by no means the "artistic" literature of the modern type, or fiction. Accordingly, the volume of materials that should serve to study the stylistics of literature of the Kiev Rus era is determined by the peculiarity of scientific ideas about the very literature itself and about the literary language in which it is created. These considerations make us propose as an auxiliary "meter" to study the style of literature of the Kiev Rus age the criterion of reflection or absence of certain poetics in the texts. As is well known, the phenomenon of poetics is legitimately extended to folklore, to contemporary business writing, and to non-folklore oral speech activity. Thus we get the opportunity to define in the same graffiti Kiev Saint Sophia's Cathedral style of church writing and oral canon, folklore and business law. But with such an approach, the bright feature of the stylistics of graffiti Sofia of Kiev in the comparison with the volume similar to the volume of graffiti texts of Novgorod Saint Sofia Cathedral is immediately striking: among the Kiev graphite there is practically no folklore of origin, not to mention the reflection of the pagan rituals that we find on the walls of the Novgorod Saint Sofia Cathedral. This conclusion can be reliably based on statistical data. But when the researchers find in the texts of the XI–XIII centuries. syllabic or "elements of sillabotonism", it is worth reminding of the very probable chance of an appropriate combination of sounds and syllables. It is much more reliable to refer some graffiti to the clerical poem. But we must not forget the hypotheticalness of such identification in general, as well as the fact that only the adaptation of the Byzantine poem to the Slavic language context can be considered.
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Dugarov, B. S. "Motive of Pparthenogenesis: the Uranian Factor and Folklore Tradition." Nauchnyi dialog, no. 1 (January 27, 2021): 110–20. http://dx.doi.org/10.24224/2227-1295-2021-1-110-120.
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The motive of parthenogenesis associated with the significance of the uranian factor in the beliefs of the nomadic societies of Central Asia and in the ideological attitudes of the ruling elite is considered. It is noted that the seal of the celestial origin of the steppe rulers — from the Huns to the Turks and Mongols — acted as the guarantor of the legitimacy and sacralization of their supreme power. A comparative analysis of this phenomenon is carried out using the example of the legends about Tanshihai and Ambagan — the founders of the Xianbei and Khitan powers, as well as about Bodonchar — the ancestor of Genghis Khan. Special attention is paid to the solar myth about Alan-goa, the ancestor of the khan’s clan Borjigin, as well as the legend of the birth of Temujin with a wonderful sign of chosenness, which has analogies in the Turkic-Mongol epic legends. The novelty of the research is seen in the attraction for the analysis of oral genealogical myths of different times and the written version contained in the “Secret Legend of the Mongols” and also revealing folklore sources. It is stated that all these plots related to different eras and ethnic formations are typologically close to each other, united by a similar motive of parthenogenesis. It is concluded that this circumstance testifies to a single Tengrian dominant in the worldview and ethnocultural tradition of the nomads, which determined the relevance of the idea of the celestial genesis of the rulers of the Great Steppe and was reflected in folklore.
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Umitkaliev, Ulan, Lyudmila Lbova, Kuanysh Iskakov, Asset Zhanissov, Perdekhan Mussyrmankul, and Daniyar Tleugabulov. "Legends about Fiery Horses: Succession of Funerary and Memorial Traditions in the Eurasian’s Nomadic Peoples Cultures." Stratum plus. Archaeology and Cultural Anthropology, no. 4 (August 2022): 333–47. http://dx.doi.org/10.55086/sp221333347.
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The article proposes a cross-cultural analysis of the concept of continuity of burial traditions in the cultures of the protoTurkic and Turkic peoples of northern Eurasia, based on archaeological and folklore sources and ethnographic data of the Kazakh and Yakut ethnicities. Researchers use materials from archaeological studies of known and new sites of the Early Iron Age and Turkic time in Kazakhstan (Berel, Kyrykungir, etc.). The study of the topic requires the use of methodological approaches and developments of cultural and social anthropology, structural and semiotic analysis, deciphering the general appearance of similar cases in the spiritual culture of asynchronical, but mono-ethnic societies for the reconstruction of worldview ideas. When characterizing burial sites, the authors use traditional methods of archaeological description, chronological determination, stratigraphy, typological analysis, etc. New data have been obtained on the connections of elements of the worldview of tribes from the early Iron Age — the Middle Ages, enshrined in the burial rite of the Saka and Turkic population of the Eurasian steppes and materials of modern folklore of Turkic peoples (Kazakhs and Sakha Yakuts).
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Gympilova, Sesegma D., and Bair Ts Gomboev. "Концепт «дом» в фольклорной картине мира монголоязычных народов." Монголоведение (Монгол судлал) 14, no. 4 (December 30, 2022): 788–99. http://dx.doi.org/10.22162/2500-1523-2022-4-788-799.
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Introduction. The article examines a basic concept of any linguistic worldview — that of home (Mong. ger). Goals. The study aims at identifying and revealing semantic features of the concept in folklore texts of Mongolic peoples — Buryat, Kalmyk, and Mongolian paroemias. Methods. Folklore texts are analyzed with the aid of the structural / semantic and structural / typological methods that make it possible to consider different semantic aspects of the concept ger ‘home’. The analysis of Buryat proverbs shows the paroemias characterizing the concept can be divided into two groups: group one to include folklore texts that directly characterize somewhat general meaning of the word ger ‘home’, while group two is compiled from proverbs with an additional meaning manifested through the use of the concept ‘home’ depending on various life situations. Results. The work reveals the image of home — through the prism of proverbs — not only essentially expands its semantic content, but also characterizes specificities of ethnic worldviews inherent to Mongolic peoples, their mentality patterns. Our semantic analysis of Mongolic paroemias with the component ger ‘home’ shows the concept comprises quite a number of semes — from ‘house’, ‘dwelling’, and ‘hearth’ to ‘family’ and even ‘homeland’ (metaphorical meanings). The investigation of Buryat, Kalmyk, and Mongolian proverbs proves instrumental not only in revealing a universal nature of the binary scheme ‘us–them’ in cultural contexts, but also in an attempted characterization of the traditional nomadic worldview through the prism of specific economic and sociocultural activities.
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Jackson, Peter. "Medieval Christendom's encounter with the alien." Historical Research 74, no. 186 (November 1, 2001): 347–69. http://dx.doi.org/10.1111/1468-2281.00132.
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Abstract To explain the devastation of eastern Europe in 1241–2 by a hitherto unknown people, the Mongols, Latin Christians resorted to Scripture and to apocalyptic prophecy, notably the seventh-century Revelations of Pseudo-Methodius. They may have been encouraged to do so by information gleaned from contemporary Rus' and the Islamic world and by the Mongols' own notions about their origins. For all the accuracy of their reports, the Friars who visited the Mongol empire in the period 1245–55 were still apparently influenced by this perspective; they also transmitted to the West fresh material derived from the folklore they encountered in Asia.
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Sengleev, Boris Yu. "HISTORICAL LEGENDS OF WAR WITH ABLAI-TAISHI IN THE MAZAN-BATYR FOLKLORE CYCLE." Folklore: structure, typology, semiotics 3, no. 4 (2020): 54–75. http://dx.doi.org/10.28995/2658-5294-2020-3-4-54-75.
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The article deals in the historical legends about Mazan-batyr, a popular hero of the Kalmyk folklore, in which he thwarts hostile khan – the rival of the Kalmyk ruler. Although less popular than other types of narratives about that hero, the corresponding texts have been still regularly recorded from the beginning of the twentieth century to the present day. It appears that by now enough material has been accumulated for an analytical study of such a layer in oral tradition. The main plot of those legends seems to be loosely based on the events of 1671–1672, during when the Khoshut taishi Ablai (Ovla tәәsh) invaded the Kalmyk nomad territories, but was defeated by Ayuka Khan. While there is no evidence that the historical Mazan participated in those events, the folklore accounts often make him one of the central figures in the conflict, usually as the leader of Kalmyk forces who defeats the forces of Ablai, and in a single combat champions over Taishi himself and captures him. This particular discrepancy, as well as the number of other features, is generally viewed as a result of the influence of the oral epic poetry on the legendary narratives. Another interesting feature of the plots is a relatively high degree of historical accuracy, as far as the historical accuracy in folklore studies goes. The most part of the characters in these legends can be correlated with the various figures of Kalmyk history, also a number of the events described in them are confirmed by different written sources, and the tactical techniques used by Mazan-batyr have direct analogues in the traditional warfare of the Mongol people.
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Jiafu, Danbuer, and Tsagan B. Seleeva. "О рукописных списках ойратско-калмыцкого «Гесера», хранящихся в архивных собраниях России и Европы, а также их собирании, описании и публикации." Бюллетень Калмыцкого научного центра Российской академии наук 16, no. 4 (November 27, 2020): 176–99. http://dx.doi.org/10.22162/2587-6503-2020-4-16-176-199.
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The epos “Geser” in the form of oral and written vaults is known over a vast territory — from Tibet and Mongolia to southern Siberia and the Lower Volga. According to the researchers, the Mongolian Geseriad was established among the ancient Mongol-speaking tribes of Kukunor on the basis of the oral Tibetan version of the monument. Geser is not only the hero of the epos, his image is also associated with the mythological, religious, folklore and literary traditions. This article is devoted to the history of publication and storage of the handwritten texts of “Geser” in “clear script” in Russia and Europe, as well as the history of recording and publication of oral versions of the legend.
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MAMMADOVA, Günay. "In the context of the diversity of wedding ceremonies in Azerbaijan Wedding traditions of Nakhchivan region." Rast Müzikoloji Dergisi 10, no. 3 (September 30, 2022): 329–44. http://dx.doi.org/10.12975/rastmd.20221031.
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The aim of this article is to examine the cultural and musical aspects of the wedding ceremonies of the Nakhchivan region, which is one of the important elements of Azerbaijani folklore. The research model was designed in accordance with the case study and document analysis techniques from qualitative research methods. The reason for choosing the Nakhchivan region in the research is that the region has a rich content in terms of folkloric features and is protected folklorically. Relevant documents and interview method were used as data collection tools in the research. In the research, the elements of the Nakhchivan wedding ritual are presented in the light of relevant sources and interviews. The works performed in the elements of the wedding ritual were examined musically. The problem of the research is stated below. What are the musical features of the wedding rituals of Nakhchivan Region, which is one of the folkloric elements of Azerbaijan, and the works performed at weddings? The research model was designed in accordance with case study and document analysis techniques from qualitative research methods. The reason for choosing the Nakhchivan region in the research is that the region has rich content in terms of folkloric features and is protected. Relevant documents and interview method were used as data collection tools in the research. In the research, the elements of the Nakhchivan wedding ritual are presented in the light of relevant sources and interviews. The works performed in the elements of the wedding ritual were analyzed musically. Sibelius notation program was used in the notation of the works. The researcher conducted interviews with the elderly living in the Nakhchivan region. Transcriptions of the interviews were made and the findings were presented. In Nakhchivan region weddings; There are stages of liking a girl, interrupting, embassy, engagement, holiday, girl’s wedding, henna night, men’s wedding, veil ceremony, hand kissing. Yallı Dance is an important musical symbol of the region. This dance is performed collectively, its variety and dance melodies are unique. Other games played at weddings; Kocheri, Tanzara, Tello, Gala-to-galaya, Urfanı have survived to the present day with cultural transfer. In the research, the musical notes of the folk songs Hakışta, Gülüm Hey, Henna Night and Bride’s Farewell were presented. mong the wedding ceremonies in the Nakhchivan region, the most important stages are the Engagement ceremony and the Hınayahdi ceremony. These are the most important parts of wedding preparation.Depending on the stages of the wedding ceremonies, the content and melody of the songs are different. Although the music sung at the initial stage is distinguished by its simplicity, the melodies gradually become complex. The richest examples of music can be found in the “Hınayahdı” ceremony.
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Trepavlov, Vadim V. "The Siberian Ulus of Jochi: Nomadic Traditions on the eve of Imperial Innovations." Golden Horde Review 11, no. 1 (March 29, 2023): 8–23. http://dx.doi.org/10.22378/2313-6197.2023-11-1.8-23.
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Research objectives: To determine the principles of Chingis Khan’s giving of an appanage to his son Jochi after the submission of the peoples of Southern Siberia in 1207 and to correlate the criteria for the territorial division of the ulus with information from the epic folklore of Southern Siberia and Central Asia. Research materials: “The Secret History of the Mongols,” the court chronicles of the Mongol Empire of the 13th–14th centuries, the heroic epos of the peoples of Southern Siberia and Central Asia, and the historiography of the Mongol Empire of the first half of the 13th century. Results and novelty of the research: As a result of comparisons of the realities of the early Mongol Empire with the patriarchal foundations of the Turkic-Mongolian nomadic society reflected in epic tales, a projection of the traditional norms of the organization of the nomadic ulus on the situation with the endowment of Jochi in the conquered lands of Southern Siberia can be discerned. Just as in heroic tales, the son, on the orders of his father, conquers neighbouring tribes living in the north and west of their native nomadic lands and receives them in governing. In this situation, not only the paradigm of relations between the indigenous and annexed population of the ulus bequeathed by the ancestors but also the archaic scheme of descending sacrality from the North to the South and from the East to the West played its role.
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Parish, Helen. "“Paltrie Vermin, Cats, Mise, Toads, and Weasils”: Witches, Familiars, and Human-Animal Interactions in the English Witch Trials." Religions 10, no. 2 (February 23, 2019): 134. http://dx.doi.org/10.3390/rel10020134.
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This article explores the role played by the relationship between witch and familiar in the early modern witch trials. It positions animal familiars at the intersection of early modern belief in witchcraft and magic, examining demonologies, legal and trial records, and print pamphlets. Read together, these sources present a compelling account of human-animal interactions during the period of the witch trials, and shed light upon the complex beliefs that created the environment in which the image of the witch and her familiar took root. The animal familiar is positioned and discussed at the intersection of writing in history, anthropology, folklore, gender, engaging with the challenge articulated in this special issue to move away from mono-causal theories and explore connections between witchcraft, magic, and religion.
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Sabrukova, Svetlana. "Bayad Wedding Rites: One Manuscript from the Archives of Orientalists (Institute of Oriental Manuscripts, RAS) Analyzed." Бюллетень Калмыцкого научного центра Российской академии наук 3, no. 23 (November 3, 2022): 8–22. http://dx.doi.org/10.22162/2587-6503-2022-3-23-8-22.
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Introduction. The article examines a manuscript describing a wedding ceremony of the Bayad Mongols who nowadays inhabit northwestern parts of Mongolia. The paper suggests the manuscript may have been authored by A. Burdukov (1883–1943). This is a Russian-language text with colloquial phrases and lexemes characteristic of the early 20th century. Goals. The article seeks to introduce the archival document of A. Burdukov as evidence of his life in Mongolia that facilitated his scholarly shaping and growth as a researcher and collector of oral and written texts representing the cultural heritage of Mongols. The manuscript is not only a source on traditional Mongolian customs and rites but is also a description of Bayad household life. The samples of minor folklore genres contained therein — such as well-wishes/blessings (Mong. yürööl) — may be instrumental for researchers to explore Mongolian vocabulary and elements of the oral tradition typical for this region. Conclusions. Three main parts within the Bayad wedding agenda can be identified from the succession of events described in the text, namely: prenuptial, nuptial, and postnuptial ones. The Bayad wedding rites contain elements similar to those of all nomadic societies and are distinguished by some livestock breeding-related attributes. The study of Mongolian traditions makes it possible to reveal both general trends of oral folklore and particular ones rooted in individual ethnocultural and historical contexts.
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Bakaeva, Elza P. "Почитание Большой Медведицы в среде ойратов и калмыков: древнейшие представления и буддийские напластования. Часть 2." Oriental Studies 13, no. 3 (December 24, 2020): 661–87. http://dx.doi.org/10.22162/2619-0990-2020-49-3-661-687.
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Introduction. Ursa Major is the constellation most venerated by Mongolic peoples. Goals. The article seeks to examine related beliefs traced in folklore and collected field data, reveal key mythological characteristics, and cast light upon diachronous layers in the beliefs of Kalmyks and Oirats (Western Mongols). So, the work aims at analyzing basic Kalmyk and Oirat folklore plots dealing with origins of the Great Bear in comparison to those of other Mongolic cultures; and at examining the concept of Ursa Major against the background of some calendar rites and revered mythological images with due regard of contemporary ceremonies addressed to the constellation. Materials. The paper analyzes folklore and ethnographic materials. Results. Part 1 of the article identifies main variants of mythological texts about Ursa Major (Mong. Долоон бурхан, Долоон өвгөн, Kalm. Долан бурхн, Долан одн) existing in Kalmyk and Oirat discourses, comparing the latter to myths of other Mongolic populations. It shows that basically the myths narrate about seven male characters (siblings, sworn brothers, or thieves) or an ox-man, though etymology of terms may tie the constellation (its emergence) to the archaic plot of day and night alternation as a chase of shedeer, and the solar theme at large. Part 2 further analyzes Ursa Major-related beliefs and compares the latter to some calendar rites and mythological images revered in Kalmyk and Oirat culture. The paper informs that the constellation was sometimes referred to by the Oirats as ‘Seven Maral Deer’ (Oir. Долоон марал), which implies our analysis may extend to the legend of how the heavenly hunter pursued a flock of she-deer. The Oirat oral tradition believes that both the characters of Ursa Major stories and Khukhedei Mergen the Hunter (whose chase made three she-deer turn into the three stars of Orion’s Belt therefore referred to by the Mongols as ‘Three She-Deer’, Mong. Гурван марал, Kalm. Һурвн марл) can be considered masters of the two horses tied to the ‘Golden Pole’ (i.e. Pole Star) — two stars of Ursa Minor. Oirats and Kalmyks also associate Ursa Major with thawing weather, protection of children, livestock (from wolves), and increase of its numbers, remission of sins — similar functions attributed to the White Old Man (Kalm. Цаhан аав) revered by the Oirats as the Lord of the Altai, while Kalmyks tend to view him as a protector deity of the nation, one of his manifestations being that of the Lord of the Year (Kalm. Җилин эзн). The article also analyzes contemporary Buddhist rites dealing with Ursa Major among Mongolic populations.
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Kozlov, Mikhail, and Elena Boytsova. "On the Problem of the Place and Role of Wells in the Mythological Representations of the Eastern Slavs of the Pre-Mongol Era." OOO "Zhurnal "Voprosy Istorii" 2021, no. 9-2 (September 1, 2021): 41–51. http://dx.doi.org/10.31166/voprosyistorii202109statyi33.
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Based on the analysis of ancient Russian chronicles, archaeological data and folklore sources, the publication reconstructs the ideas and beliefs of the Eastern Slavs of the Old Russian era associated with wells, which represented in the minds of our ancestors a certain mythological space between the world of people and the sacred underground world. The authors point to the obvious connection of the pagan cult of wells with the cults of water and earth, as well as the ideas of our ancestors about the afterlife. In their opinion, the custom of worshiping wells is one of the oldest traditions in ancient Slavic paganism, which existed for several centuries after the adoption of Christianity.
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Koryakina, A. F. "Similarities and Differences between the Yakut Olonkho and the Buryat Uliger: Plot Composition and Motives." Nauchnyi dialog, no. 1 (January 27, 2021): 135–51. http://dx.doi.org/10.24224/2227-1295-2021-1-135-151.
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The article is devoted to the identification of typological similarities and differences in epic plots and motives in the texts of the Yakut olonkho and the Buryat uliger. The relevance of the stated problem is due to the purpose of obtaining additional materials to confirm the results of earlier studies on establishing the genetic origins and typological connections of the epic creativity of the Yakut and Buryat peoples. A brief review of the study of the problem in the works of domestic folklorists, who developed the theory of the comparative study of the peoples of the world epics; Yakut epic scholars, who considered in their works the historical and typological connections of the Yakut olonkho with the epics of the Sayan-Altai, Mongol-Buryat peoples; Buryat scientists who turn in their research to the processes of historical and cultural mutual influences of the epic heritage of the Yakuts and Mongol-Buryats. Scientific methods of typological, structural-comparative and textological analysis are used. The similarity of the plots and plot motives of the olonkho “Nyurgun Bootur the Swift” by K. Orosin and the uliger “Abai Geser Mighty” by M. Imegenov, which is due to the principles of typological repetition in folklore and cultural and historical contacts of the Yakut and Buryat peoples at different stages of development of the Proto-Turkic peoples inhabiting the territory of Central Asia and South Siberia.
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Trepavlov, Vadim V. "Accentology of the Takht Eli: The Great Horde or the Greater Horde?" Golden Horde Review 9, no. 1 (March 29, 2021): 166–87. http://dx.doi.org/10.22378/2313-6197.2021-9-1.166-187.
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Research objectives: The author makes an attempt to determine the correctness of the emphasis in the Russian name of the Khanate Taht Eli – Bol’shaya (Great) or Bol’shaya (Greater) Horde; to check the connection of this name with the Mongolian and Turkic designations of the Mongol Empire, the Golden Horde, and the Crimean Khanate. Research materials: Russian, Lithuanian, and Crimean diplomatic correspondence from the fifteenth to seventeenth centuries; Russian medieval chronicles and other works; works of European authors of the sixteenth century; Turkic, Mongolian, and Persian historical works from the thirteenth to eighteenth centuries; Golden Horde yarlyqs; monuments of Tatar and Kazakh folklore, historiography of the problem under study. Results and novelty of the research: The author concludes that the designation “Great Horde” (Bol’shaya) existed in Russian speech of the fifteenth century. This conclusion has to be justified, since, firstly, it seemed obvious and therefore had never been argued in historiography. Secondly, it must be discussed due to the recently proposed variant pronunciation ‘Bol’shaya’ (Greater Horde). The analyzed Russian name of Takht eli was a translation of one of the versions of the official name of the Jochi Ulus and at the same time, it repeated the distorted name of the Mongol Empire. The possible origins of the Russian name of the Jochi Ulus, the ‘Golden Horde’, are also to be found within the imperial history of the Mongols.
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Хлыбова, Т. В. "The Mother of God Theme in Russian Folklore in the Juridical and Sacred Space of Ancient Russia." ТРАДИЦИОННАЯ КУЛЬТУРА 24, no. 3 (September 25, 2023): 158–69. http://dx.doi.org/10.26158/tk.2023.24.3.013.
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Статья посвящена исследованию влияния церковной традиции на формирование образа Богородицы в народной культуре. К анализу темы привлечены данные древнерусской сфрагистики (печати митрополитов и епископов) и юридические документы («Устав князя Владимира»). Автор считает, что эти материалы не нашли достаточного отражения в изучении народной религиозности и, включив их в исследовательский багаж, предлагает свою интерпретацию причины популярности Божией Матери в фольклорных текстах, которая связана с осознанием Богородицы как символа Церкви, что ярко проявляется в наличии изображения Святой Девы на печатях митрополитов и епископов, в распространенности богородичных храмов в домонгольский период, и с причастностью Церкви к судебному праву Древней Руси. Наблюдения, сделанные в статье, дополняют аргументацию сторонников гипотезы раннего влияния христианства на развитие сюжетного, образного, идейного строя русского фольклора, его поэтико-стилистических и вербальных особенностей. Выводы статьи, как и привлеченные данные, послужат материалом для дальнейших исследований в области народного православия и переосмысления роли Церкви в формировании многих фольклорных мотивов и образов, связанных с русской религиозностью. This article is devoted to the influence of church tradition on the image of the Virgin in folk culture. It is based on data of ancient Russian sphragistics (the seals of archbishops and bishops) and legal documents (e.g., “The Charter of Prince Vladimir”). The author suggests that these materials have not been sufficiently considered in the study of folk religiosity and, having subjected them to analysis, she offers an interpretation why the Mother of God theme was popular in folklore, This is connected to the symbolic meaning of the Virgin as a church, which is clearly manifested in her image on the seals of archbishops and bishops, in the prevalence of temples dedicated to the Theotokos in the pre-Mongol period, and in her involvement in the law of ancient Russia. The article complements the arguments of those who have seen the early influence of Christianity on the formation of the plot, figurative, and ideological structure of folklore, as well as its poetic, stylistic and lexical features. The article, as well as the data presented, serve as material for further research into folk Orthodoxy and rethinking the role of the Church in the formation of many folklore motifs and images associated with Russian religiosity.
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De Col, Alessandra, and Stefania Possemato. "Intimitŕ: metafora del mito." RIVISTA DI PSICOTERAPIA RELAZIONALE, no. 34 (December 2011): 43–57. http://dx.doi.org/10.3280/pr2011-34004.
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In questo lavoro le autrici presentano la loro visione dell'alleanza e dell'intimitŕ di coppia attraverso un viaggio che č partito da lontano, dai miti del mondo greco passando per le filosofie orientali e la ritualitŕ arcaica e primitiva di alcune forme di folklore europeo, per approdare infine alla danza della differenziazione sessuale: il tango. Le autrici hanno messo in evidenza quanto l'intimitŕ di coppia sia caratterizzata da una perenne condizione di solitudine senza la quale non avrebbe modo di esistere il concetto stesso di coppia. La condizione umana di limite sessuale conduce l'uomo e la donna a un continuo incontro per muovere oltre la solitudine. Il "noi" in coppia č pertanto questo. Il viaggio inizia da Ermafrodito che ricerca la sua metŕ, la sua mezza mela, per non essere piů "da solo" e si conclude con i due ballerini di tango. Essi ballano la solitudine in coppia. In coppia si puň essere "soli" ma non si dovrebbe stare "da soli".
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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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Borlykova, B. Kh. "Wrathful deities “dokshita” in the early shastra songs of the Mongol-speaking peoples." Languages and Folklore of Indigenous Peoples of Siberia 48, no. 4 (December 2023): 126–37. http://dx.doi.org/10.25205/2312-6337-2023-4-126-137.
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This article focuses on the early shastra songs of the Mongol-speaking peoples, offering insights into the wrathful deities referred to as “dokshita” in the Buddhist pantheon. Shastras are songs with spiritual content dedicated to the praise of the Teachings of Buddha, deities, clergy, Buddhist monasteries, pilgrimages, and similar themes. This study does not address the question of the origin of the wrathful deities. The author adheres to the assumption that Mongolian peoples borrowed them from Tibetan Buddhism. Archival and published materials serve as the source base for the study. A comprehensive characterization of the “dokshita” found in the early records of the shastra songs of the Mongol-speaking peoples is conducted using a descriptive method. Consideration is given to the etymology of the phrase “shastir duu.” A review of the sources with early texts of shastra songs of Mongolian-speaking peoples is presented. The history of the spread of Buddhism among Mongols, Buryats, and Oirats (Kalmyks) is examined. Six wrathful deities of the “dokshita,” namely Mahakala, Yamantaka, Hayagriva, Damdin Dorlik, Vajrapani, and Okon Tengri, are identified and described. For that purpose, folklore, lexicographical, and ethnographic materials, as well as Buddhist sutras and ritual texts, are examined. The analysis of song texts complements and expands the knowledge about “dokshita,” including their functions, appearance, location, attributes, mounts, and others. The present article makes a valuable contribution to the existing research on the characters of the Buddhist pantheon, both in Russia and abroad.
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Borlykova, Boskha Kh, and Badma V. Menyaev. "Towards the Study of Oirat Hydronyms of the Ili River." Вопросы Ономастики 19, no. 2 (2022): 104–26. http://dx.doi.org/10.15826/vopr_onom.2022.19.2.019.
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The paper explores Oirat hydronyms of the basin of the River of Ili (known as Ili, Tekes, Dzhirgalan, Ulan Bulak, Artsata Musar, etc.) recorded in a variety of written and oral sources of the 17th–21st centuries in different graphic and phonetic variants (in the Oirat “Clear Script,” in Latin, and in Cyrillic). Oirat river names are significantly distorted when rendered into other languages, which complicates their etymological interpretation. The material under consideration includes the translation of the 17th century “Biography of Zaya-pandita,” the map of Dzungaria by Ivan Unkovsky (1722–1724), the map of the Dzungar state of 1738 by Johan Gustaf Renat, dictionaries of the Mongolian and Turkic languages, the archive materials of the Institute of Oriental Manuscripts of the Russian Academy of Sciences and the Kalmyk Research Center of the Russian Academy of Sciences, as well as personal field materials of the authors collected in the Issyk-Kul region of Kyrgyzstan (in 2009, 2012, 2014, 2021) and the Mongol-Kurya county of the Xinjiang Uygur Autonomous Region of People’s Republic of Korea (in 2012, 2013, 2014, 2021). Geographical names of the Ili River basin are very well preserved in folklore of Sart Kalmyks living in the Tekes River valley until the second half of the 19th century, as well as in the Oirat-Mongolian folklore of Xinjiang. Typologically, Oirat hydronyms of the Ili River basin include: 1) names that can be attributed to both Mongolian (Oirat) and Turkic vocabulary, 2) hybrid names consisting of Turkic and Mongolian words, 3) original Oirat names, 4) names associated with Buddhism. The semantic and etymological analysis of the Oirat hydronyms of the Ili River basin indicates that in past times, seasonal migrations of the Oirats-nomads largely depended on the water landscape, which reflected in the detailed terminology of hydrographic objects.
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Cayer Giraldo, Nelson Alexis, and Hernando José Cobo Plata. "Re-significación y desplazamiento de los sentidos de las músicas de origen popular." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 9 (January 15, 2012): 141. http://dx.doi.org/10.26564/16926250.341.
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Resumen:Este artículo se desprende de investigaciones acerca del Festival de Música Andina Colombiana Mono Núñez (FMN), financiadas y realizadas por los autores (Cayer, N., 2010), (Cobo H., 2010), con la colaboración del Centro de Documentación Musical de Ginebra y la Fundación Canto por la Vida. Aquí se amplían la interpretación y discusión sobre el tema de las expresiones autóctonas dentro del festival, a partir del trabajo etnográfico y de entrevistas, llevado a cabo con las agrupaciones participantes en el décimo sexto Encuentro ‘Octavio Marulanda Morales’ de Expresiones Autóctonas (EOMEA), evento realizado en el marco de la trigésima séptima versión FMN en el año 2011. Palabras clave: alteridad, tradición, folclor, autenticidad, función, festivales, performance, mercado/ consumo.Resumo:O artigo deriva das pesquisas sobre o Festival de Música Andina Colombiana Mono Núñez (FMN), financiadas e realizadas pelos autores (Cayer, N.,2010), (Cobo H., 2010), com a colaboração do Centro de Documentación Musical de Ginebra e da Fundación Canto por la Vida. Aqui é ampliada a interpretação e discussão sobre o tema das expressões autóctones dentro do festival, partindo do trabalho etnográfico e de entrevistas, levado a cabo com agrupações participantes no décimo sexto Encontro “Octavio Marulanda Morales” de Expressões Autóctones (EOMEA), evento realizado no marco da trigésima sétima versão do FMN no ano 2011. Palavras chave: alteridade, tradição, folclore, autenticidade, função, festivais, performance, mercado/ consumo.Abstract:This article originates in the research on Festival de Música Andina Colombiana Mono Núñez (FMN), funded and carried out by Cayer (2010) and Cobo (2010) with the contribution of Centro de Documentación Musical de Ginebra and Fundación Canto por la Vida. The topic of aboriginal expressions within the festival is widened and discussed here, based on the ethnographic work in interviews with the groups that participated in the XVI Conference “Octavio Marulanda Morales” of Aboriginal Expressions (EOMEA), which took place within the XXVII Festival Mono Núñez in 2010. Keywords: otherness; tradition; folklore; authenticity; function; festivals; performance; market/ consumption
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Petrov, Alexander. "Is there a three-ictic <em>taktovik</em> in the verse of Russian bylinas?" Voprosy Jazykoznanija, no. 4 (2023): 65. http://dx.doi.org/10.31857/0373-658x.2023.4.65-95.
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The paper attempts to clarify some theses of the accentual theory of folk versification in relation to bylinas — Russian epic songs. A brief overview of the research tradition from Vostokov to the modern time is presented, the most difficult problems of studying the metrics and rhythm of bylina are explicated. Criteria for selecting material for analysis are formulated. The sample is based on published texts from classical folklore collections of Kirsha Danilov, Gilferding, and Rybnikov — 10,111 lines (41 texts). An extensive audio material collected from a bearer of the folklore tradition is used for the study — 632 lines (36 fragments of bylinas). With the help of audio recordings, the features of epic accentuation, previously not fully reflected in published texts, were revealed. Based on them, a hypothesis was formulated about the alternation of lines with 3 and 4 stresses in the structure of an epic verse. Data extracted from audio recordings were extrapolated to texts whose exact sound is unknown. The most typical rhythmical variations of lines with 3 and 4 stresses are presented based on a complete separate metrical and rhythmical analysis. The results are presented in 15 tables. As far as I could discover, the shares of lines with 3 and 4 stresses are more or less balanced, and together normally make up more than 80 % of an epic text. I suggest that the three-ictic model of the epic verse arose as a result of separating text from melody and is a mere reflection of an artificial literary declamation. In reality, the verse of bylina is a taktovik (an accentual verse with mono-, di-, and trisyllabic inter-ictic interval) with alternation of lines with 3 and 4 stresses, variable anacrusis (the range of variation is normally 0–2 syllables), and dactylic or masculine (less often hyperdactylic) ending, with no rhyme.
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Ochir-Goryaeva, M. V. "Procession of Horsemen on a Gold Plaque from the Siberian Collection of Peter I." Archaeology, Ethnology & Anthropology of Eurasia 46, no. 4 (December 23, 2018): 67–73. http://dx.doi.org/10.17746/1563-0102.2018.46.4.067-073.
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This article describes a group of horsemen depicted on a plaque decorating a rectangular gold casing from the Siberian collection of Peter I. Based on a drawing of the item, published in 1890, the number of characters, their postures and state are assessed. Four horsemen are evidently alive and three are dead. The absence of stirrups indicates the Scytho-Sarmatian age. Judging by the evidence relating to the transportation of the dead among the Turco-Mongol peoples, the scene may be that of a funerary procession. In certain early nomadic burials, the “straddling” position of the deceased (supine with flexed and widely spread legs) is suggestive of dancing or riding. According to a convincing hypothesis proposed by O.V. Obelchenko, who reported such cases in the kurgans of Sogd dating to the 2nd to 1st century BC, the straddling posture of the deceased likely suggests that they had been transported to the grave in the saddle. The funerary procession shown on the gold casing supports such an interpretation. The scene, however, is hardly mundane. More likely, the characters are those of the Scytho-Sarmatian mythology or folklore.
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Nosov, Dmitrii A. "Fighting the Devil: On the Non-Obvious Function of One Folk Story of the Oirats of Xinjiang." Письменные памятники Востока 19, no. 3 (October 24, 2022): 38–46. http://dx.doi.org/10.55512/wmo109724.
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The article deals with the folk story ulum-i itaɣaɣsan ni (How Argachi managed to burn the devil-girl) published in 1990 in Urumqi in the Old Mongolian script. The story was incorporated into the collection of satirical tales about Argachi, an Oirat folk hero reminiscent of Khoja Nasreddin. Of all the published tales, the story in question highlights the image of the antagonist. While usually an Oirat folklore trickster opposes a rich man, an aristocrat or an official, in this case he deceives a mythological charactera female demon. This narrative largely repeats the Khalkha-Mongol mythological tale included by Vladimir A. Kazakevich (18961937) in the report on his trip in 1925 to the region of the Khalkh-gol river. The researcher provided the narrative recorded in Khalkha with a voluminous commentary, which made it possible to completely reconstruct the context and pragmatic function of a stable narrative. The traditional strategy used to deceive a mythological character dangerous for a person, in case of an undesirable visit to the yurt, is revealed. The strategy is expressed by the world-famous folktale-type AT 1135 Eye Remedy.
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Гольденберг, А. Х. "From Historical Name to Toponymical Legend: Transformation of an Historical Plot in Modern Folklore." ТРАДИЦИОННАЯ КУЛЬТУРА 24, no. 3 (September 25, 2023): 124–33. http://dx.doi.org/10.26158/tk.2023.24.3.010.
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В статье анализируется трансформация сюжета о гибели героя исторической песни «Щелкан Дудентьевич» в современной топонимической легенде о реке Щелкан, бытующей в Волгоградской области. Она рассматривается как процесс вторичной фольклоризации, отражающий влияние книжного знания на порождение нового фольклорного сюжета о бесславной смерти в реке золотоордынского баскака Щелкана. Сюжет ранней исторической песни о его убийстве жителями Твери в 1327 г. сначала встречается в древнерусских летописях, затем излагается в исторической литературе, вузовских и школьных учебниках. В современном фольклоре он радикально трансформируется в жанровом поле топонимической легенды. Книжное знание создает семантический ореол вокруг исторического имени, который стимулирует порождение новых сюжетов, связывающих мифологию локального ландшафта со знаменательными событиями национальной истории. Выявляется роль монголо-татарского наследия в гидронимике Волгоградской области и мотивируются возможные причины прикрепления образа конкретного исторического лица к мифологии местного ландшафта. Легенда о его потоплении стала предметом народной молвы, в которой образ Щелкана мифологизируется: он становится духом реки, ее «хозяином». Основными источниками распространения легендарного сюжета являются школьные учителя и краеведы. На них указывает большинство информантов. Косвенное влияние могли оказать археологические раскопки золотоордынских захоронений на р. Щелкан. При всех сюжетных различиях исторической песни и топонимической легенды о смерти Щелкана у них есть общее художественное свойство — иронический тон в изображении его гибели. Показывается, что в новом жанровом и сюжетном контексте современный фольклор остается верен традиции, сохраняя художественные принципы изображения исторического персонажа. This article analyzes the transformation of the plot about the death of the hero of the historical song “Shchelkan Dudentevich” into a modern toponymic legend about the river Shchelkan which exists in the Volgograd region. We may consider this a process of secondary folklorization, reflecting the influence of book knowledge on the creation of a new folklore story about the inglorious death of the Golden Horde’s Baskak Shchelkan in the river. The story of his murder by Tver citizens in 1327, reflected in an early version of the song, is first found in ancient Russian chronicles, and from there made its way into historical works and school and university textbooks. In modern folklore, it is radically transformed within the generic field of a toponymic legend. Book knowledge creates a semantic halo around the historical name, which stimulates the emergence of new plots connecting the mythology of the given landscape to significant events in national history. The role of the Mongol-Tatar heritage in the hydronymy of the Volgograd region offers possible reasons for attaching the personality of a historical person to the mythology of the local landscape. The legend of his drowning has become the subject of popular anecdotes in which Shchelkan’s image is mythologized: he becomes the spirit of the river, its “master”. School teachers and local historians are the main sources and popularizers of these notions; most of the author’s informants point to them. Archaeological excavations of Golden Horde burials on the Shchelkan River might also have had an indirect impact. Despite all of the plot differences between the historical song and the toponymic legend about the death of Shchelkan, they have a common artistic property — an ironic tone in the depiction of his death. Thus even in the context of a new genre and plot, modern folklore remains true to tradition, preserving some of the artistic principles of depicting a historical character.
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Kuzhuget, Ailana K. "The Cultural Aspect of M.B. Kenin-Lopsan Scientific Work." Polylinguality and Transcultural Practices 17, no. 4 (December 15, 2020): 454–61. http://dx.doi.org/10.22363/2618-897x-2020-17-4-454-461.
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The article is devoted to some aspects of the scientific work of the outstanding Tuvan writer Mongush Borakhovich Kenin-Lopsan, Doctor of Historical Sciences, Peoples Writer of the Republic of Tyva, Honored Worker of Culture of the Tuva Autonomous Soviet Socialist Republic, Honored Scientist of the Republic of Tuva, Full Member of the New York Academy of Sciences, holder of the international title Living Treasure of Shamanism. Being the permanent president of the republican society of shamans Dungur and the only connoisseur of the secret knowledge of the ancient religion at the moment, he reveals to the reader its basic ideological concepts, explains the essence of ritual practice and attributes of shamans. The scientific works of M. Kenin-Lopsan are gaining more and more value in connection with the new phenomena of neoshamanism, the inclusion in the traditional system of innovations that distort the understanding of the national religion of Tuvans. A study of his works leads us to the conclusion that the scientist reveals the general features of the ancient culture of the SayanAltai Turks of the pre-Mongol period of Tuva. He recorded the unique stories of the best connoisseurs of folklore and traditions of Tuvans during the Soviet era, when interest in traditional culture was considered as a manifestation of nationalism
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Макаров, С. С. "Serpents and serpent-like images in the Yakut heroic epic: Towards a comparative study of demonology of the Turkic-Mongolian peoples." Эпосоведение, no. 1(29) (March 30, 2023): 72–83. http://dx.doi.org/10.25587/svfu.2023.38.53.007.
Full textAbstract:
В статье рассматриваются серпентоморфные образы в сюжетах якутского героического эпоса (олонхо), предпринимается попытка установить их типологические параллели. Цель работы – представить анализ серпентоморфности как особого способа представления эпических персонажей в якутской традиции. Несмотря на довольно подробную освещенность персонажной системы якутского эпоса в целом, данный вопрос до сих пор не исследовался предметно. Актуальность исследования обусловлена интенсификацией в фольклористике исследований ареального и сравнительно-типологического плана, сохраняющимся вниманием к области народных демонологических представлений. Исследование построено на показательной выборке записей якутского эпоса, выполненных в разных ареалах бытования традиции, в качестве материала привлекаются также данные языка, мифологической прозы, «малых» жанров фольклора якутов и других тюркских и монгольских народов. В соответствии с задачами исследования в работе реализованы принципы сравнительно-типологического исследования фольклора. Установлено, что несмотря на фактическое отсутствие змей в природном мире Якутии, связанный с ними концепт активен в фольклорных произведениях якутов, в т. ч. в эпосе. Он оформляется преимущественно лексемами монгольского происхождения. Змееобразность предстает неотъемлемым признаком духов моря Нижнего мира и путевого перевала, а, возможно, олицетворенным воплощением всей преисподней, на что указывают шаманские тексты и этнографические описания мифо-ритуальной традиции якутов. Змееподобные черты обнаруживаются также в описаниях и именах демонической пары – прародителей демонов и хозяев Нижнего мира, в измененном (агрессивном) облике антагониста героя, а также в эпитетах духа огня, что в целом связано с последовательно проводимым пониманием серпентоморфности как маркера демоничности персонажей, их явной или скрытой противопоставленности человеческому началу. Выясняется связь этой образности с шаманскими космологическими представлениями тюркоязычных народов Сибири и, вероятно, с монгольским компонентом в культуре якутов. The paper considers serpent-like images that appear in the plots of the Yakut heroic epic (olonkho), an attempt is made to review some of their typological parallels. The study aims to present a systematic analysis of the idea of serpentomorphism as a special way of representing epic characters in the Yakut tradition. Despite the rather detailed description of the characters of the Yakut epic as a whole, this topic has not yet been studied in detail. The relevance of the study is due to the intensification in folklore studies of the areal and comparative typological plans, the continued attention to the field of folk demonological ideas. The study is based on an indicative sample of recordings of the Yakut epic made in different areas of the existence of the tradition, the data of the language, mythological narratives, “small” genres of the folklore of the Yakuts and other Turkic and Mongol peoples are also used as material. In accordance with the objectives of the study, the principles of a comparative typological study of folklore are implemented in the paper. It was established that despite the actual absence of snakes in the natural environment of Yakutia, the concept associated with them is vivd in the folklore works of the Yakuts, including the epic. It is formed mainly by lexemes of Mongolian origin. Serpent-like image appears as an integral feature of the spirits of the sea of the Lower World and the way pass, and, perhaps, the personified embodiment of the entire underworld, as indicated by shamanic texts and ethnographic descriptions of the mythological and ritual tradition of the Yakuts. Serpent-like features are also found in the descriptions and names of the demonic pair of an old man and an old woman – the progenitors of demons and masters of the Lower World, the changed (aggressive) appearance of the hero’s antagonist, as well as in the epithets of the spirit of fire, which is generally associated with a consistent understanding of ‘serpentomorphism’ as a marker of the demonic character of mythological characters, their explicit or hidden opposition to the human principle. The connection of this figurativeness with the “shamanic” cosmological ideas of the Turkic-speaking peoples of Siberia and, probably, with the Mongolian component in the culture of the Yakuts is being clarified.
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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.
Full textAbstract:
Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.
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Patil, Shivanand. "Qualitative investigation and screening of antimicrobial activity of stem extract in Clerodendrum infortunatum plant." Universities' Journal of Phytochemistry and Ayurvedic Heights I, no. 36 (June 2024): 1–9. http://dx.doi.org/10.51129/ujpah-2024-36-1(5).
Full textAbstract:
Clerodendrum infortunatum is known as hill glory bower and a plant which is widely distributed throughout the whole world. Up to now, many species of C. infortunatum have been described in various indigenous systems of medicine that are used in preparation of folklore medicines for the treatment of various life-threatening diseases, and much of this plant have been very well studied for their chemical constituents and biological activities. It also is used in Unani, Ayurveda, and siddha system of medicine for many years. From Clerodendrum infortunatum many compounds, including mono-turpentine and its derivatives, sesquiterpene, diterpenoids, tri-terpentine, flavonoid, quercetin, acacetin, gallic acid, sterol and flavonoid glycoside, phenylethanoid glycoside, steroids and steroid glycosides, cyclohexylethanoids, anthraqunine, cyanogenic glycolsides, and others have been isolated and identified. In the present study, Chloroform, pet. ether, and water stem extract of Clerodendrum infortunatum obtained by Soxhlet extraction was screened to detect the presence or absence of several bioactive compounds which are reported to cure different diseases. Anti-microbial analysis of stem extract was carried out against lactobacillus, E.coli and staphylococcus aureus organisms by agar well diffusion method. It was observed that the zone was recorded against this organism. The results indicate that the chloroform, pet.ether and water extracts of C. infortunatum are having anti- microbial efficiency in controlling the microorganisms. So, Clerodendrum infortunatum is the plant which are beneficial on human health.
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Dampilova, Liudmila S. "Маркеры этничности в песнях бурят о Чингис-хане." Монголоведение (Монгол судлал) 14, no. 1 (April 18, 2022): 212–22. http://dx.doi.org/10.22162/2500-1523-2022-1-212-222.
Full textAbstract:
Introduction. The article analyzes legends and songs about Genghis Khan recorded in expeditions across Buryatia, Mongolia and China — to further compare them with related archival and published materials. Goals. The work aims at identifying distinctive features inherent to folklore texts dealing with Genghis Khan in different linguistic and ethnic environments. The issue of revival of ethnic consciousness actualizes insights into ethnic culture and its peculiarities. Methods. The paper is first to consider local versions of Buryat songs about Genghis Khan in a comparative aspect. Semantic contextual analysis proves instrumental in revealing ethnic markers. Results. The article discusses songs about Genghis Khan of both local and general Mongol significance. Songs about kinship with Genghis Khan and the ancestral homeland of Buryats — Nayan Nava — have a local and specifically tribal meaning being connected to the history of the Khori Buryats proper. Songs with a motif of chase contain parallels with plots of all-Mongol toponymic legends. The song titled ‘Two Steeds of Bogdo’ (Bur. Bogdyn hoyor zagal) and known among the Mongolic peoples dates back to the Mongolian medieval literature — The Tale of Two Steeds of Genghis Khan. The songs are examined in comparison with legends and The Secret History of the Mongols. Conclusion. Contextual analysis of songs about Genghis Khan along with legends and The Secret History reveals a hidden deep layer in the semantics of texts. The songs of Russia and Mongolia’s Buryats identify ancient roots of the motif of kinship with Genghis Khan that date back to the historical homeland. The Shinehen Buryats of the Inner Mongolia Autonomous Region (China) have shown a perfect preservation of authentic materials in an isolated environment, while Mongolia’s Buryats experienced a transformation and song borrowings in the close ethnic culture. The paper also concludes there are virtually no such songs about Genghis Khan among modern Buryats of Russia. In general, the comparative analysis of Buryat songs about the legendary warlord proves those had been created in their historical homeland of present-day Russia to be further preserved both in the alien (China) and kindred (Mongolia) ethnocultural environments.
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SEO, Heung-Seok. "Current Status and Tasks of Lim Deuk-Euy Utilization of General Relics." Korean Society of the History of Historiography 46 (December 30, 2022): 231–67. http://dx.doi.org/10.29186/kjhh.2022.46.231.
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Several research papers have been published in Korean literature and folklore about the “Rebellion of Lee Mong-Hak,” which was suppressed for Cheongnan-Gongsin, including General Lim Deuk-Euy, but research on General Lim Deuk-Euy has not been conducted academically.
After Lim Deuk-Euy portrait was donated to the Chungnam History Museum, basic research on the Cheongnan-Gongsin was conducted, including a special exhibition in 2007 and a history documentary production (Daejeon KBS) in 2008 and an academic research service for Lim Deuk-Euy general cemetery maintenance (Hongseong-gun).
However, there was no in-depth academic paper. In 2015, there was a simple research presentation data, and in 2017, a degree thesis and academic thesis were published by Lim Soon-hwan, a descendant of General Lim Deuk Euy In addition, General Lim Deuk-Euy appearance in the academic world is only one example of the “Portrait of Lim Deuk-Euy” among dozens or 100 portraits of the research subjects in the art history field studying portraits (Gongsinsang) of the Joseon Dynasty.
This paper introduces the ruins related to General Lim Deuk-Euy by period or connection, followed by how the remains of Hongseong area (Seoboo-myeon) have been preserved and maintained and developed since the 2000s. And it is a simple suggestion on how to proceed to utilize the remains of Lim Deuk-Euy general in the future.
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Nikolaeva, N. N. "When the Boar Teacher lights his fire under the ground...: one character of Buryat mythology." LANGUAGES AND FOLKLORE OF INDIGENOUS PEOPLES OF SIBERIA, no. 47 (2023): 78–88. http://dx.doi.org/10.25205/2312-6337-2023-3-78-88.
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This paper examines the image of Gakhai bagsha in fairy tales, heroic epic, shamanic invocations, and the folk calendar of the Buryats. The name of this character includes the gakhai ‘pig/boar’ component. At the same time, it is an anthropomorphic character with obvious mythological roots. Gakhai bagsha is a type of simpleton under the guise of a sage who emerges victorious from conflict situations thanks to his luck and coincidence. The epic Gakhai bagsha is rather close to the deity of the shamanic-buddhist character. An indispensable attribute of Gakhai bagsha in fairy tales and epics is a pig’s / boar’s head. The mythological basis of this outfit appears in the folk calendar. Gakhai bagsha making a fire under the ground is associated with the arrival of spring and the thawing of the earth. In shamanic invocations, he is called the owner of the earth. The image of Gakhai bagsha is rooted in ancient ideas about the owner of the earth embodying the idea of fertility and the heavenly deity controlling the rains and fertility. Not only did the ancient Mongols have such representations. They were also widespread in the world culture. Another aspect of this image is the reminiscence of the totemistic cult of the boar-first ancestor. Gakhai Bagsha is likely to have appeared in the folklore and mythological space of Buryats through the Khori-Buryat people. Due to historical reasons, Khori-Buryats were longer influenced by the Mongol world and preserved the ancient Mongolian mythological and totemistic representations.
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Ozonova, Aiiana A. "Patterns of semantics forming for the -out component in verb-adverbial compounds." Theoretical and Applied Linguistics, no. 4 (2021): 86–96. http://dx.doi.org/10.22250/2410-7190_2021_7_4_86_96.
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The current paper aims to analyze structural types of polypredicative sentences of purpose in the Altai language in comparison with Tuvan and Yakut. The material for this study was obtained by continuous sampling from folklore, fiction and Press in the Altai language. For comparison with Tuvan and Yakut, books and articles covering grammar issues of those languages, particularly syntax, were used. In the course of study, descriptive and comparative methods were applied together with the method of structural modeling. It was found that in order to express purpose, the following patterns are used: (i) monofinite (participial-case, participial-postpositional, adverbial-participial), and (ii) bifinite with conjunctions. The comparison showed that the systems of patterns expressing purpose in the languages differ in syntactic arrangement, postpositions and participial-case forms. This study enabled to identify 6 patterns of purpose in Altai compared to 8 in Tuvan described by L. A. Shamina and 14 in Yakut identified by N. N. Efremova. Clearly, Yakut demonstrates the most developed system of the patterns. It was also found that in all the three languages, monofinite patterns are dominant. Two patterns were identified as common for the three languages: (i) monofinite participial pattern with reason-purpose postposition учун / ужун / иhин 'because of, in oder to', and (ii) bifinite pattern with the common Turkic link деп / диэн 'in order to'. Another finding was that adverbial-participial patterns are mono-subject while participial-case and participial-postpositional patterns are variable-subject. The outlook for further study will include semantic types and functioning analysis of the patterns of purpose in Altai compared to other Siberian Turkic languages.
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Danyliuk, M., and Ya Danyliuk. "Creative guidelines of folkinstrumental ensembles in the cultural space of Kharkiv in the second half of the XX — beginning of the XXI centuries." Culture of Ukraine, no. 81 (September 21, 2023): 69–76. http://dx.doi.org/10.31516/2410-5325.081.09.
Full textAbstract:
The purpose of the article is to reveal the peculiarities of the creativity of folk-instrumental ensembles in the second half of the XX — the beginning of the XXI centuries in the cultural locus of Kharkiv.
The relevance of the article is determined by the dissonance between the intensity of artistic practice, the variety of ways of testing innovations, the permanent reinvention of genre, style, timbre, expressive parameters of folk-instrumental ensembles in the cultural locus of Kharkiv, and the discreteness of researching their activities in the musicological discourse. Comparative methodology is based on the guidelines of system analysis, historical approach, musical interpretation method and generalization method.
The results. The article outlines the conceptual, genre and stylistic, repertoire guidelines of such poly-timbral and mono-timbral folk-instrumental ensembles of Kharkiv of the second half of the XX–XXI centuries, such as “Korobeinyky”, “Rozmai”, “Yarmarok”, “Stozhary”, “TsymBanDo”, “3+2”, “Hrotesk”, “Grey Folk”, “Vesela Banda”, “Koloryt”, duets of accordionists I. Lypnytskyi and L. Hura, O. Mishchenko and I. Sniedkov, female bandurist trio “Kupava” and “Zoredana”, Kharkiv Guitar Quartet.
The scientific novelty of the article lies in identifying such specific features of the creative activity of folk-instrumental ensembles of Kharkiv, such as: variability of forms and compositions; virtuosity; the trend to expand timbral, sonorous, textural horizons, reinventing the technical and performing arsenal; testing of new improved modifications of traditional instruments and timbre-textural versions of classical world and national heritage; expansion of genre and stylistic horizons with original works of modern Ukrainian, in particular, Kharkiv artists; preservation of authentic music-making guidelines, establishment of the significance of the folklore and repertoire dominant idea; the significance of the academicization trend and the establishment of new sound images of folk instruments; timbral experi-mentalism, acting theatricalization of performance, tending to the aesthetic dimensions of World music and crossover, that are consonant with multiculturalism and ironic metamodernism; combination of perfor-mance, composition, research, pedagogical and methodical activities of its representatives.
Conclusions. The revealed peculiarities of the creative activity of folk-instrumental ensembles in the cultural space of Kharkiv testify to the establishment of the academic status of the national folk-instrumental ensemble art as a bearer of mentally marked traditional guidelines for instrumental music-making and a reflection of the multicultural essence of metamodernism, the sphere of transformation of aesthetic, genre and stylistic, timbre and technical and performative parameters of folk-instrumental ensemble art based on the diffusion of folklore, academic and variety music, a mediator between cultures in diachrony and synchrony, the bearer of the mission of raising folk-instrumental traditions and finding innovative ways of their embodiment.
The practical significance of the article is outlined by the heuristic application of its results in pedagogical-methodical, theoretical-practical and performance activities.
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Dashieva, N. B. "Genealogical Myth of the Buryats of the Hori Tribe: Calendar and Ritual." Nauchnyi dialog, no. 3 (March 27, 2021): 363–79. http://dx.doi.org/10.24224/2227-1295-2021-3-363-379.
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The plot of the genealogical myth of the Buryats of the Khori tribe is studied in the article as a historical and cultural source reflecting ideological attitudes, which were also a historical fact. It has been established that the myth about the origin of the Khori-Buryats is the plot of the areal cosmogonic myth. It is stated that the historical-genetic and cultural-semantic interpretation of the main events of the myth, when identified with information from archaeological, historical, ethnographic, folklore and linguistic sources, makes it possible to see in the plot of the myth the cult of the sun, the type of calendar of the solar year caused by it and the model of calendar rites of the early nomads of the steppes of Central Asia. It was revealed that the plot of the myth came to the northern shore of Lake Baikal with the carriers of the culture of tiled graves — the ethnic ancestors of the Turkic-Mongol peoples with Indo-Iranian cosmological ideas expressed in the calendar, calendar holidays, calendar rituals and calendar culture in general. It is proved that the main events of the myth are reflected in the rock paintings of the Sagan-Zaba Bay on the northern coast of Lake Baikal. It is shown that the plot of the genealogical myth of the Khori-Buryats acts as a text of culture, which is a means of preserving information about the picture of the world, which in the traditional culture of the tribe was controlled by a rite. It is noted that the historical and cultural origins of the myth go back to the archaeological Scythian-Siberian culture of the Iron Age (VI—III centuries BC).
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Kuzmina, Evgeniya N., and Evgeniya N. Kuzmina, Lyubov N. Arbachakova. "Figurative Interpretation of Sound in the Heroic Epic Poetry of Peoples of Siberia." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 1 (2022): 9–22. http://dx.doi.org/10.15826/izv2.2022.24.1.001.
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The authors of the article analyse the specifics of the depiction of sound and music in the heroic epic poetry of peoples of Siberia, who have preserved their epic tradition until recently. The authors refer to a number of epic texts by Altaians, Buryats, Tuvinians, Khakassians, and Shors. As demonstrated by the review of theoretical works carried out in the article, the musical aspect of the epic, which has attracted the attention of scholars, was focused on the study of epic intonation, timbre, and the use of musical instruments to accompany the storytelling (V. I. Verbitsky, V. V. Radlov, N. P. Dyrenkova, A. V. Anokhin, N. A. Baskakov, L. P. Potapov, Yu. I. Sheikin, R. B. Nazarenko, G. B. Sychenko, O. E. Dobzhanskaya, etc.). The use of the typological method makes it possible to carry out a comparative analysis of text fragments from the epics of the Turco-Mongol peoples, based on which it is concluded that noise sounds are conveyed in texts using onomatopoeias and ideophones. Music is conveyed through the description of its impact on characters, animals, and natural objects. It can be healing and destructive. These descriptions contain a sound code, which, like all other techniques of the epic, is aimed at conveying epic images. The oral nature of the functioning of folklore works makes it possible to use expressive techniques and means that give life to a certain monotony in the performance of monumental epic texts. More particularly, these include various ideophones. Descriptions of sounds, singing, and music are presented in stable poetic stereotypes in heroic epic poetry, which constitute the fund of the “common places” of the epic. The comparison of these descriptions shows their similarity in the structural, poetic, and compositional form, as well as in the same set of artistic and pictorial means used to create images.
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Kozlov, Michael N., and Elena E. Boitsova. "Last fight of Alyosha Popovich." Tambov University Review. Series: Humanities, no. 4 (2023): 914–22. http://dx.doi.org/10.20310/1810-0201-2023-28-4-914-922.
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Importance. Despite the fact that in our time the interest of Russian scientists in the history of Ancient Rus has significantly increased, some of its pages remain almost unexplored. For example, Alyosha Popovich, repeatedly mentioned in Ancient Rus’ chroniques and bylinas, remains for many modern researchers only a folklore character. Meanwhile, a detailed analysis of the key moments of the biography of the historical prototype of the bylina’s bogatyr will allow modern scientists to more deeply explore the historical processes that took place in the Ancient Rus’ society of the pre-Mongol era. Materials and methods. In the course of the research, special methods of cognition (historical-analytical and problem-chronological) were used. The materials that form the basis of the research have been studied and analyzed taking into account the chronology of events, the need to obtain historical information from the scientific sources being studied. When comparing different theoretical views on the analyzed problems, the method of comparative and retrospective analysis was used. Chroniques and chronographs of the 15th–17th centuries, as well as Ancient Rus’ bylinas, the main character of which was Alyosha Popovich, became the basis of the source base of the research. Results and Discussion. Based on the analysis of Ancient Rus’ chroniques and chronographs, as well as the text of the folk bylina “Alyosha Popovich and Tugarin the Serpent”, the authors refuted the hypothesis that recently dominated in Russian science that Alyosha Popovich is a collective image of the ancient defenders of native land. The historical reconstruction of the biography of the most probable historical prototype of the bylina’s bogatyr is also presented. Conclusion. The main historical prototype of bylina’s bogatyr Alyosha Popovich was the Rostov warrior Alexander Popovich. He served in the druzhinas of the Old Russian knyazs Vsevolod Yuryevich and Konstantin Vsevolodovich and under their command participated in military campaigns and internecine wars.
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Sodnompilova, M. M. "Verbal Restrictions on the Communication of Turko-Mongols of Inner Asia." Archaeology, Ethnology & Anthropology of Eurasia 48, no. 3 (October 4, 2020): 134–42. http://dx.doi.org/10.17746/1563-0110.2020.48.3.134-142.
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Verbal restrictions common among the Turko-Mongol peoples of Inner Asia and Siberia are analyzed on the basis of folkloric and ethnographic sources. Their principal forms are silence, circumlocution, and whisper. The socio-cultural context of these restrictions is reconstructed. They are seen in various domains of culture, in particular relating to social norms, and are believed to refl ect fear of human life and the well-being of man and society in the communication with nature represented by deities and spirits. This is a natural reaction that has evolved under the harsh environmental and climatic conditions of Inner Asia. The sa me concerns, extending to social communication, have regulated interpersonal interactions. In a nomadic culture, verbal restrictions stem from the importance of the ritual function of language and a specifi c attitude toward spoken language, which, over the centuries, was the principal means of information storage and transfer, cognition and adaptation. This concept of speech affected the emergence of the principal behavioral stereotypes. The rigid norms of behavior account for the importance of the nonverbal context of the nomadic culture— the high informative potential of the entire space inhabited by the nomads, and the rich symbolism of their material culture, traditional outfi t, and dwelling.
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Boulton, Marjorie. "Paul Neergaard, 1907–1987." Esperantologio / Esperanto Studies 1 (1999): 7–13. http://dx.doi.org/10.59718/ees82931.
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Oni petis min plekti girlandon, por honori la memoron de Paul Neergaard, ĉefredaktoro de Esperantologio de 1946 ĝis 1961, kaj mi trovas la taskon tre malfacila, ĉar scioj kaj memoroj preskaŭ sufokas min, kvazaŭ en ĉambro plena de diversodoraj materialoj: necesas rozoj, lilioj, diantoj, lotusoj, narcisoj, gencianoj, erikoj, hibiskoj, asfodeloj, konvaloj, lekantoj, violoj, floroj el multaj landoj; kaj, ĉar tre interesis lin folkloraj nomoj de floroj, ankaŭ kristorozo, ĉevalpiedo, kavalirsprono, leonfaŭko, paŝtista burso, ora vergo, sunfloro kaj, kompreneble, neforgesumin’ – kvankam la lasta estas admono superflua. Kaj ĉar li faris unikan, vastan laboron por plibonigi grenrikoltojn tra la mondo kaj tiel batali kontraŭ malsato, devus enesti kelkaj spikoj de tritiko kaj hordeo, panikloj de aveno, rizo, milio, sorgo, eĉ spadiko de maizo. Devus enesti verdaĵoj, almenaŭ folioj de laŭro por lia renomo, sed ĉu ne ankaŭ kelkaj folioj de plantoj, kiujn liaj laboroj plibonigis? – de laktuko, brasiko, betoj, kelkaj guŝoj de sanaj pizoj, faboj, fazeoloj, kelkaj sanaj fruktoj, kaj nepre devus esti verda rubando kun verda stelo ie. Kiel plekti, kiel porti? La imago fariĝas groteska; sed tiu superabundo, tiu sufokiĝo de girlandisto, bone simbolas la esencan neeblecon, adekvate prezenti talentojn tiel multflankajn, atingojn tiel diversajn, personecon tiel riĉan kaj kompleksan.
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Ierusalimskiy, Yuri Yu, and Grigoriy G. Popov. "The Confrontation Between the Russian State and the Chingizid States: Macrosociological and Historical Aspects." Vestnik Tomskogo gosudarstvennogo universiteta, no. 472 (2021): 104–14. http://dx.doi.org/10.17223/15617793/472/13.
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Domestic history of the 13th-17th centuries contains important controversial aspects concerning, among other things, the problem of the confrontation between the Russian lands and the Chingizid states. The article focuses on the consequences of the collision of Russia with the Mongol Empire and its heirs - the Chingizid states. The authors believe that, in the 16th century, the Moscow state experienced a stage of high military tension, which was associated, among other things, with military operations against the Crimean, Kazan, Astrakhan, and Siberian khanates. The high financial burden on the Russian principalities is emphasized due to tributary payments to the Golden Horde. The authors note the positive significance of the changes that took place in the military logistics of the Moscow state. The article examines the reasons for the effectiveness of the “cannon and musket revolutions” in the context of the confrontation between Moscow and the Chingizids. The “cannon and musket revolutions”, which were part of the “gunpowder revolution”, were not in themselves factors of the progress of society and an increase in its defense for Russia, they became such only in combination with socioeconomic, cultural, and spiritual changes. The Moscow principality managed to achieve national unity in the territories subject to it already at the end of the Mongol period. In many respects, the national unity of the Russians turned out to be due to the religion common to all the East Slavic lands, the disappearance of division into tribes in the Kiev period, the development of uniform methods of organizing economic activity and agricultural technologies. The Chingizid states outside Mongolia had an “alien” character, which ultimately led to disintegration in their societies, vivid examples of which are the rebellions in the Kazan and Crimean khanates, as well as in the Golden Horde itself. The authors emphasize that the liberation of Russia from long-term dependence on the Golden Horde was the result not so much of transformations in military affairs as the creation of a single Russian centralized state, the revival and further effective socioeconomic development of the Russian lands, the growth of agriculture and handicrafts, primarily metallurgical production, and national identity. Domestic history of the 13th-17th centuries shows that progress is not only the fruits of the work of various technologies, but a complex multifactorial process, including, first of all, successful economic development, a powerful centralized state, and the Russian national spirit, whose awakening is evidenced by the literary monuments of the Kulikovo cycle, the Tale of the Stand on the Ugra, and folklore tradition.
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Ezhova, Elena N. "Artifacts of culture in polycode advertising text: Types of quotation." Media Linguistics 10, no. 2 (2023): 179–208. http://dx.doi.org/10.21638/spbu22.2023.203.
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The article is devoted to the problem of using cultural artifacts — material or mental objects created by man, functioning in various areas of the cultural-semantic field- in the structure of a polycode advertising text. The research methodology is based on a structural-semiotic approach and functional analysis. The paper considers various approaches to the definition of the concept of artifact; the typology of cultural artifacts used in advertising is determined. Based on the dichotomy of artistic and non-artistic ways of human exploration of the world, the following types of artifacts are distinguished in the structure of creolized media and advertising discourse: artifacts of spatial art (fine arts, architecture, decorative and applied arts); artifacts of temporary art (literature, folklore and musical); artifacts of spatio-temporal syncretic art (theatrical, choreographic, cinematographic, comics, actually advertising, etc.); extra-artistic artifacts (artifacts of history, fashion, politics, mass media, visual and verbal memes, etc.). We can define the mechanism for including artifacts in the fabric of media and advertising text as quoting texts of a previous culture that can manifest themselves at various levels of depth of the semantic structure of advertising. In this sense, citation is understood as broadly as possible, as the actualization in the text structures of the content elements of past texts or formal ones. The types of artifactual citation are determined by us on the basis of the modality parameter: mono modal citation (citation in the advertising text of the text of the same medial rank); polymodal citation (citation in the text of an advertisement of a text of a different medial rank); auto-citation (quoting texts of previous advertisements in advertising); meta citation (citation in advertising of expressions containing a reflection on the advertisement itself).
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Poogoo Chultemsuren, Poogoo Chultemsuren, and Gombozhapov Alexander D. "Khalkhas Tsogtu Khuntaiji: Dissonance of Assessments in Historiography." Humanitarian Vector 17, no. 3 (October 2022): 128–35. http://dx.doi.org/10.21209/1996-7853-2022-17-3-128-135.
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The article presents an analysis of the political and religious activities of Tsogtu Khuntaiji, one of the controversial personalities in the history of Mongolia. In the analysis of the activities of Tsogtu Khuntaiji, the historical-biographical method was applied. It made it possible to trace the origins of the political views of Tsogtu Khuntaiji. The application of the comparative historical method revealed common features and similarities in the political trends of Inner (Southern) and Khalkha (Northern) Mongolia. Analytical comparison of the main circumstances of the political struggle among the ruling stratum showed that the religious factor has become the main dividing line of the warring parties. Using the materials of written and folklore sources, the motives and reasons that prompted Tsogtu Khuntaiji to come out as a supporter of Ligden Khan are traced. The latter was the bearer of the title of Great khan and sought to revive a single Mongolian state. To resolve this issue, the nature of the relationship between Tsogto Khuntaiji and the influential princely houses of Khalkha is considered. It is shown that the general dissatisfaction of the nobility with the activities of Tsogto Khuntaiji was expressed in the person of the rulers of large Mongolian specific possessions: Sain-noyon, Tushetu-khan and Setsen-khan. The support of Tsogto Khuntaiji for the policy of centralization of power in the hands of the Chakhar Ligden Khan led, in the conditions of the specificity of the Mongol rulers of Khalkha, to his gradual isolation, which eventually turned into expulsion from his native lands. An external factor was added to the complex tangle of interweaving of internal political conditions and religious relations ‒ the emerging state of the Manchus, which, having become the center of attraction for the Mongolian elite, was interested in the fragmentation of the Mongolian political space. It is possible that the political position of Tsogto Khuntaiji acquired its final features precisely under the influence of this circumstance.
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Агатай, У. М., Ж. М. Сабитов, and Н. А. Досымбетов. "ARROWS-JEBE AND THE NOGHAIC-KAZAKH HEROIC EPOS." Proceedings in Archaeology and History of Ancient and Medieval Black Sea Region, no. 15 (October 31, 2023): 652–64. http://dx.doi.org/10.53737/8916.2023.97.73.025.
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Рассматриваются термины и словосочетания ногайлинско-казахского героического эпоса, обозначающие различные виды, типы и элементы стрел. Данная тема ещё не была объектом специального исследования, а соответствующая терминология не переводилась на другие языки, в том числе на русский. На основе сбора, систематизации и комплексного анализа фольклорных, вещественных и письменных источников сделана попытка выявления и атрибуции оригинальных названий, а также особенностей конструкции и системы оформления стрел-джебе тюркских воинов Великой степи эпохи Средневековья и Нового времени. Установлено, в частности, что в указанные периоды воины-кочевники Дешт-и-Кипчака (Крымской степи, Нижнего Поволжья, Западного Казахстана, Западной Сибири), а также Арало-Сырдарьинского района, Семиречья, Алтая и др. регионов использовали разнообразное метательное оружие дистанционного боя, обозначавшееся терминами оқ (стрела), жебе (джебе-наконечник), қасалақ (стрела-касалак). Также использовались словосочетания сауыт бұзар оқ (бронебойная стрела), ажал оқ («стрела смерти»), қозы жауырын оқ (стрела в виде лопатки ягнёнка), салалы саусақ жебе (стрела в виде раздвоенных пальцев), ай оқ («месяцевидная» стрела), масақ оқ (наконечник-стрела), сайкез оқ (стрела-сайкез), улы оқ (ядовитая стрела), берен оқ (стрела-берен), сұр жебе (серое джебе), көк жебе (синее джебе), ақ жебе (белое джебе), алты қырлы жебе (шестигранное джебе), сегіз қырлы жебе (восьмигранное джебе), қырық кез оқ (стрела в сорок аршин), он екі тұтам оқ (стрела в двенадцать кулаков), күшіген жүнді оқ (стрела с перьями грифа), қанатты оқ (крылатая стрела) и др. Сопоставление терминологии стрел в эпосе с образцами из археологических памятников и их описаниями показало высокий уровень корреляции фольклорных, письменных и вещественных источников. Их комплексный анализ вновь показал, что ногайлинско-казахский героический эпос может и должен привлекаться для изучения военно-культурного наследия тюркских и монгольских народов Евразии позднего Средневековья и Нового времени. The article amasses accounts from the Noghaic-Kazakh heroic epos which enable new insights in the variability of names and phrases describing ranged weapons (arrows-jebe). Formerly, these accounts have not yet been the scope of a focused scholarly study and were not even translated into foreign languages, including Russian. Now, when analyzing folklore, artifacts and written sources in detail, an attempt is made to identify the original names and constructive merits and decorative systems in jebe arrows of the Turkic warriors of the Great Steppe in the Middle Ages and the Modern Era. Using the research database from accumulated, systemized and analyzed records, basic terms and phrases were found and attributed in the Noghaic-Kazakh heroic epos denoting parts of ranged weapons, the arrows-jebe. It has been established that during the Middle Ages and the Modern Era, in Dast-i Qipčaq — the Crimean steppe, Lower Volga Region, West Kazakhstan, and Western Siberia — as well as in Aral—Syr Darya Region, Zhetysu, Altai, and elsewhere, the ranged weapons were used by the nomadic warriors, including oq (an arrow), jebe(a jebe- arrowhead), qasalaq (a qasalaq-arrow). A variety of the arrow-related terms and phrases includes sauīt būzar oq (an armor-piercing arrow), ajal oq (‘an arrow of death’), qozī jauīrīn oq (an arrow in the shape of a lamb’s scapula), salalī sausaq jebe (an arrow in the shape of two-forked fingers), aj oq (‘a moon-shaped’ arrow), masaq oq (a arrowhead), sajkez oq (a sajkez-arrow), ulī oq (a poisoned arrow), beren oq (a beren-arrow), sūr jebe (a grey jebe), kök jebe (a blue jebe), aq jebe (a white jebe), altī qīrlī jebe (a hexagonal jebe), segїz qīrlī jebe (an octagonal jebe), qīrīq kez oq (an arrow of forty yards), on ekї tūtam oq (an arrow of twelve fists), küşїgen jündї oq (an arrow with vulture’s feathers), qanattī oq (a winged arrow), etc. The matching of the epic descriptions of the arrows-jebewith various written records and genuine samples from archeological sites reveals a high level of correlation between folklore and narratives and artifacts. The focus on a comprehensive analysis of the accounts under study testifies that the Noghaic-Kazakh heroic epos is highly applicable to studying military-cultural heritage of the Turk and Mongol peoples of Eurasia during the Late Middle Ages and the Modern Era.
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Власова, Виктория Владимировна. "THE IMAGE OF THE CONFESSIONAL OTHERS: OLD-BELIEVERS WANDERERS IN THE ORAL HISTORY OF THE UPPER PECHORA AND UDORA KOMI-ZYRYANS." Tomsk Journal of Linguistics and Anthropology, no. 2(32) (October 14, 2021): 102–13. http://dx.doi.org/10.23951/2307-6119-2021-2-102-113.
Full textAbstract:
Образы «других» являются неотъемлемой частью фольклорной картины мира, играя значимую роль в (само) идентификации этнических и конфессиональных групп. В ходе непосредственного общения формируются народные представления о конфессиональных особенностях «других», выделяется набор признаков, маркирующих их в качестве таковых. В статье рассматривается формирование и трансформация представлений о конфессиональном «другом» в моноэтничной поликонфессиональной среде на примере староверов-странников, проживавших в Удорском и Троицко-Печорском районах Республики Коми. Источниковой базой исследования послужили архивные данные и полевые материалы фольклорно-этнографических экспедиций, проходивших в начале 2000-х гг. Появление староверов-странников, позиционировавших себя как хранителей «истинной веры» и стремившихся максимально ограничить контакты с иноверцами, стало толчком для выделения этой группы в качестве конфессиональных «других». На верхней Печоре, на момент проведения исследований, страннические общины существовали; здесь сохранялась идеологическая конфронтация между разными группами верующих, что нашло отражение в различных локальных номинациях странников. На Удоре, где последователи странников исчезли в 1970-е гг., повсеместно использовался экзоконфессионим, не имевший оценочных коннотаций. Определяющее влияние на формирование представлений о странниках как о «других» оказали их религиозные практики. Ключевым показателем, характеризующим суть вероучения в глазах конфессиональных соседей, равно как и самих странников, стало «бегство от мира» — полный отказ от участия в государственной и общественной жизни, от любого взаимодействия с иноверцами. Не менее значимыми для системы представлений о данной группе были особенности погребальной обрядности (тайные похороны удорских странников) и крещения (крещение в пожилом возрасте). Закрытость повседневной и ритуальной жизни странников способствовала распространению слухов, компенсировавших отсутствие информации. Изменение исторических реалий (исчезновение удорских странников, изменение возрастного состава общин) вело к изменениям и коррективам существовавших представлений. The images of the Others are an integral part of the folklore worldview, also they play a significant role in the (self) identification of ethnic and confessional groups. Folk ideas about the confessional characteristics of the Others, as well as a set of features that allowed to mark them as the Others are formed in the course of direct communication. The article examines the formation and transformation of ideas about a confessional Other in a mono-ethnic and poly-confessional environment, using the example of Old-Believers Wanderers who lived in the Udorskii and Troitsko-Pechorskii districts of the Komi Republic. The article based on the archival data and field materials of folklore and ethno-graphic’ expeditions that took place in the early 2000s. The emergence of Wanderers, who were positioning themselves as keepers of the «true faith», and striving to limit contacts with non-Wanderers as much as possible, became the impetus for singling out this group as confessional Others. On the upper Pechora, where at the time of our research Wanderer’s communities existed, the ideological confrontation between different groups of believers were still persisted, that was reflected in various local nomination of Wanderers. On Udora, where the followers of the Wanderers disappeared in the 1970s, an outer nomination of this confessional group was widely used, which had no evaluative connotations. Their religious practices had a decisive influence on the formation of perceptions of the Wanderers as Others. The key indicator that characterizes the essence of the religion of the Wanderers in the eyes of their confessional neighbors, as for Wanderers themselves, was «flight from the world» – a complete refusal to participate in state and social life, and to have any interaction with representatives of the other faith. No less significant for the system of ideas about this group were the features of the funeral rituals (secret funerals of Udora’ Wanderers) and ritual of baptism (baptism in old age). The closedness of the daily and ritual life of the Wanderers contributed to the spread of rumors, which compensated the lack of information. Objective changes of the reality (the disappearance of Wanderers communities of Udora, the change in the age structure of the communities) led to changes and adjustments of the existing ideas.