Artículos de revistas sobre el tema "Symbolism in folkore"
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Pospelova, Olga S. "The Image of Bluebeard in the Age of Symbolism". Literary Fact, n.º 4 (26) (2022): 183–201. http://dx.doi.org/10.22455/2541-8297-2022-26-183-201.
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The article examines the symbolics in the play “Ariana and Bluebeard, or Vain Deliverance” (1896) by the Belgian writer Maurice Maeterlinck and in the libretto “Duke Bluebeard’s Castle” by the Hungarian writer Béla Balazs (1911). There is a transformation of the Bluebeard story from folklore to the field of symbolist and neo-romantic literature, where it undergoes significant changes, being transformed into a “new age myth.”
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Mirələm qızı Qasımova, Pərvanə. "Characteristics of folklore". SCIENTIFIC RESEARCH 12, n.º 8 (27 de agosto de 2022): 24–29. http://dx.doi.org/10.36719/2789-6919/12/24-29.
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Folklorun estetik əhəmiyyəti ilk öncə onunla şərtlənir ki, o dil, fikir və bədii düşüncənin əsasında xalqın yaratdığı mükəmməl bir söz sənətidir. Folklor xəyal, təxəyyül, fantaziya və simvolikadan sənətkarlıqla istifadə edərək gerçəkliyi dolayı yolla motivləndirir və onu poetikləşdirir. Bu poetikləşdirmə, sənət yaratma prosesində əsas vəzifəni xalqın bəddi zövqü yerinə yetriri. Yəni, xalqın bədii zövqü folklorun estetik ölçülərini müəyyənləşdirən və modelləşdirən əsas faktor rolunda çıxış edir. Folklor formaları əsrlərlə xalq sənətkarları tərəfindən cilalanıb və estetik ölçülərini sabitləşdirib. Ona görə də folklor estetik hissi, gözəllik hissini, dil, ritm və forma gözəlliyi duyğusunu inkişaf etdirir. Folklorun estetik gücü ədəbiyyat, musiqi, teatr və s. kimi sənət növlərinin inkişafında böyük əhəmiyyət daşıyır. Məqalədə bütün bunlar öyrənilərək araşdırılır, foklorun səciyyəvi xüsusiyyətləri üzə çıxarılır. Açar sözlər: folklor, xalq, xüsusiyyət, ədəbiyyat, estetika Parvana Miralam Gasimova Characteristics of folklore Abstract The aesthetic importance of folklore is determined by the fact that it is a perfect art of words created by the people on the basis of language, ideas and artistic thinking. Folklore indirectly motivates reality and poeticizes it by skillfully using dreams, imagination, fantasy and symbolism. In the process of this poeticization, art creation, the main task is performed by the people's bad taste. That is, the artistic taste of the people acts as the main factor that determines and models the aesthetic dimensions of folklore. Folklore forms have been polished by folk artists for centuries and stabilized their aesthetic dimensions. Therefore, folklore develops aesthetic sense, sense of beauty, sense of beauty of language, rhythm and form. The aesthetic power of folklore is literature, music, theater, etc. is of great importance in the development of such arts. In the article, all this is studied and investigated, the characteristic features of folklore are revealed. Keywords: folklore, folk, character, literature, aesthetics
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Ro’ziyeva, Mohichehra Yoqubovna. "COLOR SYMBOLISM IN UZBEK FOLKLORE." Theoretical & Applied Science 85, n.º 05 (30 de mayo de 2020): 277–84. http://dx.doi.org/10.15863/tas.2020.05.85.55.
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Владыкина, Татьяна Григорьевна. "Food Symbolism in Udmurt Folklore". ТРАДИЦИОННАЯ КУЛЬТУРА, n.º 3 (2 de noviembre de 2020): 132–40. http://dx.doi.org/10.26158/tk.2020.21.3.011.
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Фольклор удмуртов содержит весьма значимый по богатству символики напитков и еды материал. Удмуртский язык и обрядовые традиции до сегодняшнего дня сохранили архаические представления о магической связи праздничной культуры и ритуальных напитков/еды (юондыр - время пития/пиршества). Показательно присутствие в названиях праздников, знаменующих календарно важные периоды зимнего (Вожо-дыр - зимние Святки) и летнего (Инвожо - летние Святки) солнцестояния, номинации хмельного напитка сур (пиво): Толсур - зимнее пиво / зимний праздник; Куарсур - лиственное пиво / летний праздник. Компонент «пиво» в значении «праздник», под влиянием старообрядческой культуры исторически замененный на другой хмельной напиток - брагу, сохранен и в названии осенних молодежных посиделок на севере Удмуртии - ныл-брагá (девичья брага / девичий праздник). Здесь же зафиксирован термин шыд-сион (поедание супа / угощение супом) как понятие ритуальной трапезы в виде отдельной составляющей всего обрядового комплекса в контексте календарных и семейных обрядов. Символика напитков и еды, представление о празднике как о сакральной ситуации более всего проявлены в застольных гостевых песнях, звучащих во время обхода домов родственников. Песни исполнялись на соответствующий обряду знаковый напев и были способом и средством выражения чувств участников обряда: пиетета перед богами, благодарности и любви к родственникам. С символикой образов напитков и еды в ритуальных гостевых песнях перекликаются устойчивые образы заклинаний-молитв - куриськон’ов. Древнейший пласт образов восходит к простейшему комплексу понятий «питья» и «еды» (сиён-юон/шыд-нянь - еда-питие/суп-хлеб) и соотнесен не только с удовлетворением физиологических потребностей - жажды и голода, но также представляет собой символ духовного благополучия. Со временем эти понятия обогащаются смысловыми оттенками «угощения»/яств и становятся символами «радости», «удовольствия», «праздника», «пиршества», «общения» с богами, близкими, единокровными людьми - родственниками (ср. рус. «хлеб-соль»). Udmurt folklore contains rich material on the symbolism of drinks and food. The Udmurt language and ritual traditions have preserved archaic ideas of the magic connection between festival culture and ritual drinks/food (“yuondyr” means both time for a drink and time for a feast). It is significant that the names of holidays that mark important calendar periods in winter (“Vozho-dyr” - winter Yule) and summer solstice (“Invozho” - summer Yule) contain names of an alcohol drink (“sur” - beer): “Tolsur” means winter beer or winter festival; “Kuarsur” means leaf beer or summer festival. The component “beer,” also meaning “festival,” which under the influence of the Old Believers was substituted for another alcoholic drink (“braga”), is also preserved in the name of autumn youth gatherings in the North of Udmurtia (“nyl-braga” - maiden braga or maiden holiday). Here also the term “shyd sion” (the eating of soup) has been recorded as meaning both ritual feast and a component of the entire ritual complex. The symbolism of drinks and food and the idea of the holiday as a sacred phenomenon is most clearly shown in the guest songs that are performed during house-to-house visits by relatives. These are sung to a popular ritual melody and are a way to express the feelings of the ritual’s participants: piety to the gods and gratitude and love for relatives. In ritual guest songs, standard images from incantation-prayers (“kuris’kon”) echo with the symbolism of drinks and food. The most ancient stratum of images derive from a simple set of terms denoting drink and food (“sion-yuon” and “shyd-nyan” - food-drink and soup-bread) and not only correlates with satisfying of physiological human needs (thirst and hunger), but also symbolizes spiritual well-being. Over time these terms have been enriched with various shades of meaning having to do with “treating” with food and drink and suggest “joy,” “enjoyment,” “festival,” “feast,” and “fellowship” - with the gods, with the near and dear, or with consanguineous relatives (cf. the Russian “bread-salt”).
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Hutchings, John. "Folklore and Symbolism of Green". Folklore 108, n.º 1-2 (enero de 1997): 55–63. http://dx.doi.org/10.1080/0015587x.1997.9715937.
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Vavilova, Kseniya Yur'evna. "Symbolism in the English and Russian fairy tale folklore: comparative analysis". Филология: научные исследования, n.º 11 (noviembre de 2021): 94–106. http://dx.doi.org/10.7256/2454-0749.2021.11.36438.
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The subject of this research is the symbolism in the English and Russian fairytale tradition. The object is the texts of the Russian and English fairy tales. Analysis of the texts reveals the typical functions performed by symbols in both folklore traditions. The author provides the examples of symbols and offers the interpretation of objects-symbols, symbols-zoonyms, color and number symbols, time and space symbols. Comparative study of folklore heritage of non-cognate languages reveals the fundamental commonness of a particular folk genre of different peoples in their perspective upon reality, methods of depiction, and ideological interpretations. The scientific novelty consists in conclusions obtained in the comparative study of the symbolism of fairy tale texts in the Russian and British folklore, which is important for determination of linguistic, semiological and cultural universals. The comparative study of folklore material of two traditions in the sphere of the poetics of folklore reveals the traditional universals and unique features on the level of symbolism of the fairy tale genre. Within the framework of the article, the author analyzes the functionality of thematic, animalistic, color, spatial-temporal, and numerical symbols. The acquired results are underpinned by a large number of text examples.
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Oinoshev, V. P. y S. V. Oinosh. "Signs of colour symbolism in traditional Altaian culture". Altaistics, n.º 1 (5 de abril de 2024): 71–78. http://dx.doi.org/10.25587/2782-6627-2024-1-71-78.
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The study of the symbolism of traditional culture categories, including the symbolism of colour in folklore studies and toponymic names becomes very relevant due to the revival of many aspects of spiritual culture. Nowadays the symbolism of colour becomes important in the life of a modern person. It accumulates deep meanings. The extent of research done on the topic: In the Altaian folkloristics colour epithets were studied in detail in the research of M. A. Demchinova, V. P. Oinoshev, S. P. Tyukhteneva and others. Up to the present time colour symbolism in the traditional culture of the Altaian people has not been the object of special research. The aim of the study is to highlight some aspects of colour symbolism in folklore art and toponymy of the Altai Mountains. Theoretical comprehension of colour symbolism as a special category in Altaian folklore studies is based on the functional method and has been applied in the researches by S.S. Surazakov, S.P. Tyukhteneva and M.A. Demchinova. The genre symbolism of Altaian folklore seemed to be considered in those researches. The present study includes the usage of a complex of comparative and historical research methods. Being a characteristic and actively used component for a number of ethnonyms, toponyms, hydronyms and to designate religious names colour has a great semantic load in the traditions of Altaians. For example, many Altaian clans (seoki) are divided into smaller units and colours such as white, black and yellow are actively used to name them: ak (white) kobok [kœbœk], karа (black) kobok [kœbœk], kara todosh (black todosh), sary todosh (yellow todosh). There is also a large number of hydronyms and toponyms associated with black, white, yellow, blue and other colours: KaraArka, Sary-Chet, Karakol, Akkem, Karasuu etc. O.P. Molchanova, a researcher of the toponymy of the Altai Mountains, writes about the great importance of some adjectives that indicate colour in the construction of geographical names. The use of colour epithets in folklore works creates a colorful image. The sharply contrasting colours show the opposition of good and evil. There is a hierarchy of colours in traditional culture. Red colour shows the colorfulness of the object being described, also symbolizes health, wealth, a world of prosperity. Grey is typical for poor people, and it has semantics of unhealthiness. There are names with the formant “kan” in the toponymy of Altai. It turns out that the formant “kan” is added to the names of especially revered natural objects. The author of the article suggests that the word “kan” (in the meaning of “blood”) is present in the names of especially revered objects. Research perspectives: The results of the research of colour symbolism in folklore and toponymy of the Altai Mountains can be applied for further study of the characterization of artistic images in literature, folklore and ethnography. The topic requires further research.
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Ajibade, George Olusola. "Water Symbolism in Yorùbá Folklore and Culture1". Yoruba Studies Review 4, n.º 1 (21 de diciembre de 2021): 1–25. http://dx.doi.org/10.32473/ysr.v4i1.130029.
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Water is not only a physical substance; it is also an intrinsic part of peoples’ identity, cultural perception, religious beliefs and worldviews. Water is a relevant and a significant variable that is also germane to the understanding of Yorùbá peoples’ identity, culture and religion. Hence, this ethnographical and literary study examines the image of water in Yorùbá cosmology using folklore (oral texts) of the people as paradigms. It uses a field investigative method of research to elicit primary data from the people on the uses of water in diverse spheres of life. It supplements oral data with secondary data in the form of books, journal articles and archival materials. The data collected was analysed from the lenses of a hermeneutical-anthropological approach. The study found that water constitutes and creates cultural, social and religious identities among the Yorùbá people of southwestern Nigeria. In addition, it concludes that water represents one of the several ways through which the Yorùbá society can be best understood.
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Liu, Minjie. "Folklore symbolism of I. Bunin’s short story “The Raven”". Philology. Issues of Theory and Practice 17, n.º 1 (26 de enero de 2024): 177–83. http://dx.doi.org/10.30853/phil20240026.
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The article is devoted to a poetical analysis of Ivan Bunin’s short story “The Raven” (1944), which is a part of the cycle of short stories about love “Dark Alleys”. The research is undertaken in order to comprehend the role of folklore in the formation of the poetic world of Bunin’s love story, to identify the emotional and aesthetic perspectives of the images, motifs, and the central conflict of the short story, which is contextually conditioned and mediated by folklore symbols. The research is novel in that it is the first to analyze in detail the short story “The Raven”, its character system (images of the father, the son, the daughter, Elena Nikolaevna) and to identify the most important folklore components of the central conflict of the story (a love conflict). As a result, it is shown that the active involvement of folklore symbols (the folklorized concept “The Raven”, a color palette of folklore), which were close and understandable to the Parisian community of Russian emigrants, allowed Bunin (who adhered to national traditions, including folklore ones) to bring additional poetic intentions into the text of the shott story, imbued with imagery familiar from childhood and bright fairy-tale emotionality, to bring the perception of the text created in exile closer to the nostalgic memory of the abandoned homeland of Russia.
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Babali, Anna. "Boules: The carnival of Naousa. Folklore or symbolism?" Bulletin de l'Institut etnographique 60, n.º 2 (2012): 229–40. http://dx.doi.org/10.2298/gei1202229b.
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Shrivastava, Garima. "Bijji’s Tale from Duvidha to Paheli: Journey of a Folklore". Journal of Communication and Management 2, n.º 01 (18 de marzo de 2023): 19–22. http://dx.doi.org/10.58966/jcm2023213.
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Padam Shree Vijaydan Detha, popularly known as ‘Bijji’ is a renowned Rajasthani folklore writer, and Rajasthan is the land of colors of folklores, art, and cultural tradition. Every particle of sand tells a story of romance, bravery, and sacrifice. ‘Bijji’ has given voice to this golden sand singing in silence. ‘Duvidha’ is a story of a woman’s respect, loneliness, and desires. When a sensitive film-maker ‘Mani Kaul,’ one of the flag bearers of Indian parallel cinema, translates the story on celluloid, the story becomes a cinematic treat decorated with symbolism. Kaul’s camera reveals the layers of a woman’s heart. Thirty-two years after ‘Duvidha’ was presented on screen, ‘Bijji’ echoed again in the heart of another film-maker Amol Palekar. ‘Paheli’ is a millennial version of ‘Duvidha’ trying to comprehend a woman’s pain in a patriarchal system to a newer generation.
This paper explores the journey of folklore, from a mystic world of words to the audio-visual expressions of an art form cinema to commercial value-added expressions. The analysis is based on socio-cultura
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Zheng, Wenxuan. "The role of black color in the history of Russian, French and Chinese mythology and folklore". Genesis: исторические исследования, n.º 5 (mayo de 2024): 46–55. http://dx.doi.org/10.25136/2409-868x.2024.5.70659.
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The subject of the article is the symbolic meaning of black color in the culture and folklore of various civilizations, especially in the Russian, French and Chinese traditions. The research aims to identify the evolution of the perception of black color over time and its role in religious, mythological and socio-cultural contexts. The author examines the transformations of the symbolism of the black color, its connection with myths, rituals and ideas about the world in various cultures, as well as its significance as a reflection of social and cultural norms and values. The research is aimed at identifying common and unique features in the perception of black color, its role in religious and ritual practices. The methodology is based on the collection and analysis of cultural texts on the symbolism of the black color in Slavic and Chinese cultures. Comparative analysis and contextual research methods are used to identify the role and significance of black color in culture and society. The novelty of the research lies in the analysis of the symbolism of black color in Russian, French and Chinese cultures through the prism of mythology and folklore. In Russian mythology and folklore, black color is associated with dark forces, death and the afterlife. It is dangerous, but it also has protective properties. In French mythology and folklore, black color is often associated with mystery, magic and riddles. It may symbolize death, but it also carries elegance and style. In Chinese mythology and folklore, black color is usually associated with death and ancestor worship. It can also symbolize power and authority. These results not only expand our understanding of mythological representations, but also highlight the importance of cultural context in interpreting color symbols.
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Ilimbetova, Azaliya F. "THE SYMBOLISM OF AZHDAKHA IN THE FOLKLORE AND BELIEFS OF THE BASHKIRS". Vestnik Chuvashskogo universiteta, n.º 2 (25 de junio de 2021): 87–94. http://dx.doi.org/10.47026/1810-1909-2021-2-87-94.
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The article is devoted to the analysis of one of the key serpentine characters – Azhdakha in the folk art and religious and mystical representations of the Bashkirs. The purpose of the work is to analyze the ideas associated with the image of Azhdakha basing on folklore and field materials, and to try to identify its origins. The scientific novelty of the article lies in the fact that this work is the first attempt to study the reasons for the veneration of the image of Azhdakha among the Bashkirs. And this makes it possible to recreate certain aspects in the ethnic history of the Bashkir people, helps to identify the historical and genetic roots of their spiritual culture. The methodological basis of the research is the principle of analytical and retrospective analysis of literary, folklore and linguistic sources. This paper is the first to systematize and analyze historical-ethnographic and folklore-linguistic materials on the topic under consideration. Folklore information and field materials of the author, first translated into Russian by the author, are introduced into scientific circulation. The practical significance of the research lies in the fact that the presented materials contribute to the disclosure of the genetic roots of snake deification in the folklore and mythology of the Bashkirs, and can be used by ethnographers and folklorists in their comparative historical studies. Having studied the problem, the author came to the conclusion that in the Bashkir religious-mythological and folklore tradition, the image of Azhdakha was formed on the basis of further evolution of primitive totemic ideas about the snake-totem, totemic ancestor and patron spirit and is a consequence of its sacralization. In the religious and mystical visions of the Bashkirs, this image became a negative character as a result of defeat in ethno-cultural and interreligious clashes, as well as due to descendants’ inadequate perception of the most ancient totemic incarnation-initiation rites and speculations. Formation of ideas about the image of Azhdakha among the Bashkirs occurred not only under the influence of Indo-Iranian folklore and mythological traditions. In this process, in addition to the ancient Aryan hunters and gatherers (cattlemen and grain-growers), the ancestors of the Afrasian peoples, as well as the Dakho-Turan-Turkic tribal formations, took part.
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GAIDAMAVICIUTE, Ona. "BIRD SYMBOLISM IN LITHUANIAN (BALTIC) FOLKLORE AND FOLK ART". Ethnology Notebooks 151, n.º 1 (22 de febrero de 2020): 109–16. http://dx.doi.org/10.15407/nz2020.01.109.
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Tolkacheva, Svetlana Viktorovna. "Hair symbolism in the Russian wedding folklore of Udmurtia". Philology. Issues of Theory and Practice 16, n.º 11 (21 de noviembre de 2023): 3939–48. http://dx.doi.org/10.30853/phil20230601.
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The aim of the research is to conduct a culturological and mythopoetic comparative description of the meanings of the symbol “hair” using the material of a traditional Russian wedding taking place on the territory of Udmurtia. The scientific novelty lies in the holistic study and systematization of the different meanings of the symbols marking the bride’s hair – in identifying poetic motifs and plots of wedding song folklore, in analyzing the context of the event code of the ceremony – within the framework of the Russian dialect tradition of one region. It is the first time that new wedding episodes described by informants, original songs, including unique ones for this territory, are introduced into scientific use. The paper analyzes the texts in which the parameters of the time code are involved, gives examples with a poetic description of the “instantaneous” combination of the past and the future in the bride’s life. It is the first time that facts rare for this tradition from Old Believer villages are indicated, i.e. the gifting of a scarf by the mother-in-law as a symbol of the bride’s acceptance into a new family and the redoing of the bride’s hair into three braids. As a result, it has been proved that in the wedding ritual, the attitude to hair is iconic. In the popular view, it is associated with the cyclicity of natural time and the time of human life, with the influence of the elements on the time and space of the ritual “transition” of the bride, with the understanding of its value as a part of the external appearance of the bride and as the embodiment of the moral foundations of society itself. Human somatics is projected onto plants and birds; it correlates with mythological images focused on similarity with graphic forms (circle, pipe).
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Tolkacheva, S. V. "Symbols of Time in Russian Wedding Folklore of Udmurtia". Nauchnyi dialog, n.º 6 (24 de junio de 2021): 251–66. http://dx.doi.org/10.24224/2227-1295-2021-6-251-266.
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The article is devoted to the study of the system of artistic images of Russian wedding folklore of the modern Udmurt Republic. The relevance of the work is due to the fact that the temporal processes of the wedding ritual itself, as well as family-clan and natural rhythms are first considered on the example of wedding folklore that exists in the territory of the modern republic. Particular attention is paid to the images of heavenly bodies, the kingdom of plants, zooand ornithomorphic images, the symbolism of sound signals. The sun is shown to be the central artistic image associated with the display of time. As a result of the analysis, it was found that semantically, the images of evening dawn, morning dawn and night have significant similarities. The question of the possible division of the night into two time periods is considered — a dark one, which does not correspond to a wedding situation, and a light one, which regulates the course of ritual time. It is shown that the image of the night is a symbol of the first conjugal intercourse. It has been established that the mention of the trumpet and the bell in the songs emphasizes the sacred status of the wedding ceremony. It is noted that in wedding songs, the symbolism of the sound of the bell and trumpet merges with the symbolism of the sun. It was revealed that in the description of emporal processes there may be categories of morality.
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Bragina, Natalia y Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (25 de mayo de 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.
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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the analysis of the literature devoted to his works. As the result, two groups of leitmotifs were identified in the Čiurlionis’ paintings: a) figurative themes; and b) non-figurative themes (up to complete abstraction). Analysis of the meanings of these themes and of their influence on the content of the paintings shows that concrete figurative images (themes of kings, bird, hand, and castle) are associated with Lithuanian folklore. Semi-abstract and abstract images (chaos, glance, gesture, and beauty) reveal the connection between the art of Čiurlionis and European philosophy, from Plato's ideas to Nietzscheism and mystic-visionary movements of the early 20th century. Revealing the philosophical basis of his paintings makes it possible to simultaneously review the artist’s entire work in the context of culture of art nouveau, understand this culture more deeply, and thus get a better understanding of some important phenomena of our time.
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Woloschuk, Caitlin. "Masculinity in Folklore: The Enduring Symbolism of the Canadian Lumberjack". Pathways 3, n.º 1 (7 de noviembre de 2022): 5–13. http://dx.doi.org/10.29173/pathways36.
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The nineteenth-century logging industry in North America produced working conditions that gave birth to many folk tales and folk heroes that have held firm, keeping the lumberjack a topic of popular culture that has endured for over a century. Through examining a historical painting and sketch inspired by the popular French-Canadian folktale La Chasse Galerie, present-day people can better understand the different historical influences, such as religion and ethnicity, that helped create folklore and ideas of masculinity within the timber trade in the Ottawa Valley. In addition, the masculinity that logging folk heroes and folk tales embody can help illustrate trends in modern resource extraction industries.
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Jelenić, Milica. "FOLKLORNI ELEMENTI U ZBIRCI PRIPOVEDAKA IZ TAMNOG VILAJETA MOMČILA NASTASIJEVIĆA". Lipar XXIII, n.º 79 (2022): 195–205. http://dx.doi.org/10.46793/lipar79.195j.
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The paper interprets the short stories from the collection From the Dark Vilayet in order to decode the mythical and folklore layer in the narrative world of Momčilo Nastasijević. Examining the storytelling technique, the presence of motifs from folk tradition, ritual and mythical symbolism, the archaic character of Nastasijević’s prose is pointed out as its peculiarity, and the phenomenon of modernist prose in folklore clothing is observed. Folkloric elements figure as an indispensable segment for understanding and interpreting the creativity of Momčilo Nastasijević.
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Mykytenko, Oksana. "My Small Apple Has Rolled Away: Poetic Peculiarities of Funeral Laments for Children in Ukrainian and South Slavic Folklore Traditions". Tautosakos darbai 59 (2 de junio de 2020): 85–99. http://dx.doi.org/10.51554/td.2020.28368.
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Traditional notions about death at a young age shape the special character of funeral rituals for children and are reflected in associated funeral lamentations. These funerals are generally subject to the most mournful sympathy and sincere grieving owing to the emotional basis of the texts. At the same time, it was not common to mourn after the death of a baby or the first child. It is evident that there is a tendency to enhance the social status and the age of the dead child through ritual, e.g. by using specific vestments. The motif of the death-wedding seems to be the most relevant in this cycle. We also examine the traditional opposition of male / female children (especially evident in the South Slavic folklore tradition), reflected on the lexical level. The poetic style of the text is based mainly on two artistic “codes” – vegetal symbolism (metaphors of withering etc.) and zoological symbolism. The stylistics and composition found in these mourning rituals are characteristic of improvised folklore texts.
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Gura, Aleksandr. "Water and Fire in the Slavonic Symbolism of Dreams and the Symbolic Language of Culture". Antropologicheskij forum 19, n.º 56 (2023): 25–61. http://dx.doi.org/10.31250/1815-8870-2023-19-56-25-61.
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The analysis of oral folk interpretations of dreams and dream books lets us determine the range of symbolic meanings for each of the two elements—fire and water. This range represents a semantic paradigmatic structure—an area with a certain symbolism. In a certain sense it resembles what is called a lexical nest or a semantic field in linguistics. The interaction between the symbolism of fire and the symbolism of water is in their partial imposing on each other and is distributed crosswise: dreams about water can get fiery symbolism and vice versa, the three varieties of earthly, heavenly and human symbolism. For example, swamp may be dreamt of to tears and sunny weather; fish to tears, rain and fever; the sun to rain, clear weather and fire; flames and fire to rain and sunny weather. The balance of water and fire symbolism, their mutual influence (its interaction with the symbolism of cold/hot) up to their unification, mixture, and neutralization is widely represented in a language and culture—in folklore texts, ritual and magical actions and beliefs, in an author’s poetry, literature, fine arts and psychoanalysis. The mechanisms of such symbolic correlation and interaction are constantly reproduced. All this makes it possible to reveal universal cultural senses and highlight the peculiarities of the structure of the symbolic language of culture.
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Niebrzegowska-Bartmińska, Stanisława. "Symbolika płodnościowa w polskim folklorze". Etnolingwistyka. Problemy Języka i Kultury 28 (22 de septiembre de 2016): 207. http://dx.doi.org/10.17951/et.2016.28.207.
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<p>Autorka podejmuje kwestie płodności w kulturze tradycyjnej i sposoby jej wyrażania, charakteryzuje sposoby wnioskowania o płodności, możliwości wpływania na płodność, jej ochronę i pobudzanie w obrzędowości dorocznej i rodzinnej, daje przykłady hamowania płodności oraz powodowania niepłodności słowem i gestem. Dowodzi, że kod werbalny jako nośnik znaczeń symbolicznych, pozostaje w ścisłym powiązaniu z innymi kodami kulturowymi: przedmiotowym, personalnym, akcjonalnym, muzycznotanecznym, temporalnym i lokatywnym. Służąc wyrażaniu sensów symbolicznych, kody funkcjonują wymiennie, zastępują się, przedłużają i dopełniają.</p>
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Braszka, Justyna. "Symbolika w filmie Nosferatu wampir Wernera Herzoga". Ogrody Nauk i Sztuk 11, n.º 11 (26 de agosto de 2021): 170–77. http://dx.doi.org/10.15503/onis2021.170.177.
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Cel. Celem artykułu jest przedstawienie symboliki ukrytej w filmie Nosferatu wampir w reżyserii Wernera Herzoga, zaprezentowanej na tle filmowego wampiryzmu i twórczości reżysera. Artykuł przedstawia zarys i genezę kina wampirycznego, spuściznę ekspresjonistycznej kinematografii niemieckiej i ponowne podejście Herzoga do wznowienia myśli neoromantycznej. W artykule zaprezentowano także wpływ folkloru i motyw potęgi natury, który miał wpływ na reżyserię Wernera Herzoga. Wymienione wyżej tematy przeplatają się z celem głównym artykułu, czyli interpretacją filmu Nosferatu wampir. Omówienie koncepcji. Artykuł oparty jest na teoretycznej wiedzy z zakresu kultury, zwłaszcza ze sztuki filmowej. Przyjęta koncepcja łączy w sobie opis nierozerwalnej zależności między reżyserią a wybraną przez twórcę inspiracją, którą należy z kolei interpretować jako część właściwych składowych. W przypadku filmu Nosferatu wampir trzeba sięgnąć do motywów pojawiających się w gatunku filmowym jaki jest horror, a przede wszystkim w nurcie tzw. kina wampirycznego. Aspekty filmowe poszerzone o wizję Wernera Herzoga zostały uzupełnione o pozostałe motywy, m. in.: folklor. Wnioski. Artykuł przedstawia gamę informacji na temat symboliki wykorzystywanej przez Wernera Herzoga. Omówienie Nosferatu wampir to przy tym kwestia ujęcia koncepcji metafizycznych, folklorystycznych i społecznych. Wartość poznawcza. W artykule zaprezentowano kompleksową analizę filmu Nosferatu wampir uzupełnioną o wiedzę z zakresu sztuki filmowej, głównie kinematografii niemieckiej od okresu nurtu ekspresjonistycznego po zmiany w kinie niemieckim doby Herzoga.
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Monraev, Mikhail U. y Alexander B. Lidzhiev. "Символика птиц у калмыков". Desertum Magnum: studia historica Великая степь: исторические исследования, n.º 2 (30 de diciembre de 2020): 78–86. http://dx.doi.org/10.22162/2712-8431-2020-10-2-78-86.
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The article describes the symbolic meaning of the image of some bird species existing in the Kalmyk traditional perception. As a rule, different species of birds in the culture of a nation have their own symbolic meaning that can have both positive and negative connotation. The article analyzes the role of messengers referred to different species of birds. The article points out the link of the bird symbolism with totemism and in particular with the selection of this or other species of birds for totems of different ethnic groups. There was a comparative analysis of the bird symbolism among different nations. The study is of great importance as there is a need for revealing the main characteristics of bird image symbols which are as ancient as any other symbols existing in the life of people. The article analyzes the ornithonyms of the Kalmyk language from the ethno-linguistic point of view. Ornithonyms are widely represented in the folklore of Kalmyks and other Mongolian nations: in the fairy tales, proverbs, sayings and other folklore genres.
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Vasić, Danijela. "Monkey Symbolism in Japan". Narodna umjetnost 60, n.º 2 (19 de diciembre de 2023): 119–38. http://dx.doi.org/10.15176/vol60no207.
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Majmun je jedina životinja koja je u japanskoj kulturi prošla dug i trnovit put od božanstva do predmeta poruge. Predstave o majmunu deo su najrazličitijih diskursa, od religije i mitologije preko folklora i različitih vrsta umetnosti pa sve do savremene kulture. Mitske predstave o majmunu predstavljaju hibrid budističkih i taoističkih verovanja pristiglih iz Kine, dodatih na postojeće šintoističko nasleđe. Iz tog spleta ideja, čuvar granice između nebeskog i zemaljskog sveta postaje sam bog i božanski glasnik, a postepeno dobija sve značajnije mesto i u verovanjima, gde se naročito ističu apotropejske osobine ove životinje. U čvrstoj je sprezi s planinom kao božanskim toposom, ali su očite i paralele s vodom, suncem i poljoprivredom. Takva simbolika majmuna prelila se i u usmenu tradiciju. Kroz različite pripovedne forme, koje uvek stoje na međi između usmenog i pisanog i gotovo uvek odišu budističkim uticajima, moguće je pratiti transformaciju predstava o majmunu. Vremenom su dobijale sve negativnije konotacije, tako da je majmun izgubio božanske atribute i poprimio osobine kulturnog junaka − trikstera, dok na kraju nije ostala samo životinja na koju čovek gleda s prezirom, podsmehom i eventualno, s osmehom na licu.
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Ilimbetova, Azaliya Fattakhovna. "Sheep (ram) symbolism in folklore, rituals and customs of the Bashkirs". Samara Journal of Science 10, n.º 4 (1 de diciembre de 2021): 235–41. http://dx.doi.org/10.17816/snv2021104217.
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The paper analyzes the remnants of the sheep (ram) cult among the Bashkirs, which was one of the revered animals in their religious and mystical views. The consecration of the sheep (ram) by the ancient Bashkirs is based on the remnants of the totemic way of primitive people thinking about the identity, unity and blood relationship of man and the sheep (ram). Their vestiges are manifested in fairytale folklore, folk games, tribal ethnonymy and anthroponyms of the Bashkirs. The existence in the oral stories of the Bashkirs of a character a king with rams horns shows that the ancient Bashkirs revered as their first ancestor a mythical creature in the guise of a half-man-half-ram. In the role of the totemic ancestor the sheep (ram) in Bashkir folk art and beliefs acts as a patron, guide, savior, benefactor and healer of people, a guardian of life, a soothsayer and predeterminer of their destinies, an escort of the souls of the dead to paradise, symbolizes fertility, prosperity, prosperity and happiness. In some elements of the traditional Bashkir wedding and the sacrifice of a ram, a superstitious attitude towards the skull and links of the cervical vertebra of a sheep (ram), traces of the ancient holidays of the sheep (ram) with rituals of totemic taboo, collective communion with meat and blood, magical resurrection and reproduction of a totem animal are visible. In Bashkir legends, riddles and vocabulary, the evolutionary paths of ideas about the totemic ancestor of the sheep (ram) are traced, as well as the formation on their basis of views about sheep (rams) supernatural divine beings, personifications of stars, attributes and companions of the gods.
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Lee, Kyung Hee. "A Study on the Symbolism of Vocabulary in the Altai Folklore". Institute for Russian and Altaic Studies Chungbuk University 26 (28 de febrero de 2023): 243–64. http://dx.doi.org/10.24958/rh.2023.26.243.
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The purpose of this study is to analyze the characteristics of Altai tales and the symbolic meanings of words in Altai tales. Altai refers to the Altai Republic in the Russian Federation, located in South Siberia. Altaians - the common name of a kind of historically formed union of six autochthonous Turkic-speaking ethnic groups. Altai folklore is the traditional beliefs, customs, and stories of a community, passed through the generations by word of mouth Altai people. Altai folk tales are life stories that reflect the traditions, belief systems, religions, and cosmic views of the peoples who have lived around the Altai Mountains since ancient times. Altai folk tales have similar themes or modified contents found in other regions and peoples, but reflect the uniqueness of the Altai peoples and culture. In Altai folktale texts, color words that symbolically express the main character and surrounding objects, as well as names of people and numbers using color words, are found. These vocabularies are linearly combined with other vocabularies and function as text components unique to narrative texts.
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Gura, Alexander V. "Linguistic Harmony as a Means of Symbolization in Folklore and Poetic Texts". Slovene 10, n.º 1 (2021): 322–46. http://dx.doi.org/10.31168/2305-6754.2021.10.1.14.
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The article discusses the use of linguistic harmony in traditional culture as a means of symbolisation. In folklore texts, the phonetic similarity of the words heightens the semantic connections between them. This happens when homonyms, paronyms, and other similar-sounding words in the text along with anagrammatic coding of the meaning of the text (for example, riddles) merge, combining two words in one hybrid word paronymous with both of them; by means of phonetic strengthening, complex sound compilation of the text as a whole, as frequently seen in poetry, etc. Symbolic correlations based on verbal consonances usually occur in spells, conjurations, dream interpretations, superstitions, and rituals that have a magical function (prognostic, healing, etc.). In archaic elements of the poetry, the harmony of the words combines an aesthetic function with a magical one (merging more and more with the aesthetic one over time), which allows us to talk about their true syncretism and the magical origins of poetry. Sound and logical-conceptual methods of symbolisation often interact with each other. The symbolism generated by the harmony of words fits into a wide cultural context, revealing deep-semantic cultural parallels from different eras and communities, since the supraindividual memory operating in culture is able to store and bring to life the accumulated connotations. Symbolism arising from the consonances of words has the property of reviving the etymological memory of a word in cultural contexts. In some archaic Slavic zones, symbolism, based on consonant words, still retains its productivity. In the symbolic language of the culture, it also performs a structuring function, takes part in the formation of connections and relationships between the single elements of the traditional picture of the world setting up certain parameters for it, for example, it forms parallels in folk zoology in animal and bird codes, isolating single groups of characters.
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Gura, Aleksandr. "The symbolism of cat in the Slavic folk tradition". Slavic Almanac, n.º 1-2 (2019): 335–70. http://dx.doi.org/10.31168/2073-5731.2019.1-2.5.01.
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In the Slavic folk tradition, the cat has ambiguous symbolism and demonic functions. It correlates with the dog, being combined with it by some features and opposed by other (when perceived as pure or impure). The cat and the dog constitute a symbolical parallel to a pair of wild animals - the bear and the wolf. Cat appearance marks other characters of the folk demonology: the devil, “zmora”, the death, the vampire. In the folk zoology, the cat together with some other fur animals (the squirrel, the fox etc.) is to some extent ranked as a mustelid with a specific complex of ideas they represent. What brings the cat together with them is first of all the female and erotic symbolism (its connection to a maiden, a bride in the folklore, the cat name for female genitals), the motif of weaving, and the functions of a patron of the house and the cattle ( domovoy turning into a cat, the choice of cattle coat cover according to the color of the cat etc.) Some ideas bring the cat together with the hare (cf. the Polish kot ‘hare’, the Serbian belief that the hare originates from the cat, their beneficial influence on the sleeping). The cat is used in the folk magic and medicine: to get an enriching spirit, to be used in case of cattle death, to treat tuberculosis. The image of cat is attested in many folklore genres, in proverbs, in riddles, folktales, games, etc. The cat’s behavior is connected to an enormous number of everyday life and meteorological superstitions, it is often used as an offer in the bargaining between the humans and the world of spirits.
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Garunova, Saida Magomedkhanovna, Robert Chenciner y Magomedhan M. Magomedhanov. "COLOUR AND SYMBOLISM IN DAGHESTAN FOLKLORE LITERATURE AND CARPETS - A FRESH LOOK". History, Archeology and Ethnography of the Caucasus 14, n.º 3 (15 de diciembre de 2018): 109–26. http://dx.doi.org/10.32653/ch143109-126.
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In the present article, we study more issues of color semantics and symbols. Our research is based on the analysis of mainly Daghestani folklore and ethnographic materials and colour characteristics of traditional textiles, including carpets. We examined two methods of gathering evidence about associations of colours in the minds of people. The first is to use some kind of psychological tests. The second is to use ideas incorporated in folklore and folk litera- ture, as handed down through generations of narrators and listeners. During this process, successive narrators have unconsciously filtered the material to ensure its relevance to their audience. This is clearly an indirect meth- od: nobody actually answers the questions from today’s experimenter, so any colour associations must be inferred from the context. Colours in oral tradition were considered, not in isolation, but rather in contrasting pairs or in sequences. It was found that a specific colour could have different associations in different conditions, and that generally the associations were more abstract than concrete. In surviving woolen rugs and felts and silk embroideries, colours appear to be linked with availability of dyes or decorative preferences rather than symbolism.
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Koval, Vladimir I. "Symbol of Mouse in Slavonic and Chinese Linguocultures". RUDN Journal of Language Studies, Semiotics and Semantics 11, n.º 2 (15 de diciembre de 2020): 250–64. http://dx.doi.org/10.22363/2313-2299-2020-11-2-250-264.
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The article describes in comparative aspect the main symbolic meanings of the zoononym mouse in Slavic and Chinese linguocultures. The study of animal symbolism in Russian (wider - Slavic) and Chinese cultural traditions is one of the current trends in modern linguistics, which, on the one hand, has a pronounced anthropocentric orientation, and on the other, is characterized by a noticeable increase in interest in the Chinese language and culture of China in different countries of the world. Turning to the study of complex and ambiguous symbolism of the mouse is quite timely and taking into account the confinement of 2020 to the year of the White Rat / Mouse. The purpose of the study is to identify similar and specific for each culture features of perception and characteristics of the mouse as an animal, which has a significant impact on everyday life. The tasks of the work include identifying the sources of the appearance of a negatively connotated mouse image in culture, determining the ambivalent nature of rituals, customs and ritual actions, the object of which are mice, as well as revealing the contents of the “Mouse Wedding” custom in Chinese and South Slavic traditions. The analysis of the actual material (stable phrases, folklore texts, ethnocultural records, traditional drawings) showed, on the one hand, the mostly negative symbolism of the mouse in the Slavic spiritual culture, and on the other, the perception of the mouse as an animal, bringing material wealth and prosperity, in the traditional picture of the world the Chinese. At the same time, it was established that both the Slavs and the Chinese use a number of magic tricks aimed at fighting mice that cause considerable damage to the peasant economy. Significant for the linguoculturological analysis of the mouse image is the appeal to oriental folklore texts, as well as to traditional popular prints of Chinese and Russians, reflecting differently the symbolism of mice and their relation to the main enemy - the cat.
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Liana, KHAGOZHEEVA. "Symbolism of numbers in the Circassian epic: one and two". Epic studies 4, n.º 32 (28 de diciembre de 2023): 108–18. http://dx.doi.org/10.25587/2782-4861-2023-4-108-118.
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The article analyzes the nature of reflecting the symbolism of the number one and two in the poetics of historical and heroic epic. It is proved that they contain deep mythological roots, are the carrier of folk consciousness and mentality of ethnos, and have a clear reflection in the Adyghe folklore. To reveal the artistic forms of manifestation of these numbers on the material of historical and heroic songs and legends was the purpose of our work. To achieve the goal the following tasks were set: to analyze the texts of historical-heroic epic; to study the symbolism of the number “one” and “two” in its aesthetic plan; to trace the specificity of representation of the sacral basis of these numbers. The ideas of the Pythagorean philosophical doctrine of numbers were taken into account in the work. We support the theory of division of even and odd numbers, and attributing the former to the female sex, i. e. negative, and the latter to the male sex, i. e. positive. The study of the nature of artistic reflection of number symbolism in historical and heroic epic is important for the comprehensive study of folklore. This is the relevance of the chosen topic. The work is carried out using the structural-comparative method. The theoretical basis of the study was the works of domestic authors devoted to the study of the symbolism of numbers of the Adyghe cultural tradition. The main ideas of Z. Zh. Kudaeva and M. R. Hezheva are outlined and applied. The practical significance of the work consists in the fact that its results can be useful for specialists in the field of folkloristics, as well as for the circle of readers interested in folk traditional culture. The result of the work done is that number symbols turn out to be one of the ways of expressing moral ethnic consciousness. In the epic they are understood as means of artistic expression.
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Calaza-Martínez, Pedro, Nuria Freire-González y Camilo Blanco-Pampín. "Sacred Landscapes in Galicia: Small Religious Architecture and Symbolism". Acta Horticulturae et Regiotecturae 22, n.º 1 (1 de mayo de 2019): 8–13. http://dx.doi.org/10.2478/ahr-2019-0002.
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Abstract Cultural landscapes are multi-layered entities that constantly endure changes and transformations, especially in Europe due to its ancient history and anthropized nature, which reveals itself not only in physical elements, but also through immaterial heritage. This paper aims to analyse the connection between sacred landscapes, small religious architecture and folklore, focusing on the origin and transformations of several places in Galicia (northwest of Spain). Galicia is defined by its rich flora and fauna, a management of its land based on smallholding and the social idiosyncrasy of its people, defined by strong symbolism and the religious tradition that is reflected in a great amount of small sacred architecture. All this provide a paradigmatic territory for this research, allowing an approach to the case studies from the point of view of landscape architecture, assessing the small sacred architecture elements, their background, symbolism and associated vegetation. It is worth mentioning that, although vegetation had a very strong meaning and symbolism in the sacred history of Galicia, nowadays it only appears in 26% of the analysed case studies.
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Sherwood, Amy. "An Bó Bheannaithe: Cattle Symbolism in Traditional Irish Folklore, Myth, and Archaeology". McNair Scholars Online Journal 3, n.º 1 (2009): 189–225. http://dx.doi.org/10.15760/mcnair.2009.189.
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Trebješanin, Žarko. "Narratives about Dreams which Foretell Death and Dying and Their Interpretation". ISSUES IN ETHNOLOGY AND ANTHROPOLOGY 7, n.º 3 (17 de septiembre de 2012): 853–68. http://dx.doi.org/10.21301/eap.v7i3.13.
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As in many others, in Serbian folk tradition a lot of attention is given to dreams which foretell death through the means of certain images and symbols, which should first be decoded in order to understand the prophesy. The principles of folk interpretation are rooted in ancient forms of mythical and magical thinking (the principles of similarity, closeness, sameness, opposition, mythological symbolism etc.) which is present to different degrees in folk culture (myths, religion, beliefs, rituals, customs). In this kind of worldview, the opposition between life and death is considered especially important, as evident from the rich symbolismof foretelling death in dreams. The analysis of the interpretation of dreams among The Serbs reveals a number of ill omens which occur in dreams, symbolizing death: the color black, the Moon, a deciesed person, fire, falling, buildings being torn down, pulling teeth, weddings, priests, graves, candles etc. These symbols are present in the beliefs, myths and fairy tales of many peoples, where they are also connected to death, the netherworld and chthonic beings, which suggessts that these are largely universal, archetypical images. Stories about prophetic dreams which foretell death are a genre of folklore which has not been sufficiently studied in our society, and these kind of studies can be an important topic, as well as a means to unearth the ancient folk worldview and the mythical logic on which it is based.
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Kuchko, Valeria S. "Жемчуг in Russian Folklore". Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, n.º 3 (2022): 118–38. http://dx.doi.org/10.15826/izv2.2022.24.3.048.
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Pearls are some of the most frequently encountered gems in Russian folklore. This reflects their importance for Russian culture, where from the sixteenth and seventeenth centuries and up to the nineteenth century, they were among its symbols. Pearls were not only gems representing the highest strata of society and the highest clergy. They were relatively easily accessible to the common people, and even to the peasantry, especially in the Russian North, the territory of their extraction in Russia (the poor peasantry used imitations). The rootedness and high value of pearls in folk life contributed to the fact that words from the word-formation family жемчуг can be found in almost all genres of Russian folklore. This article aims to give a general idea of the relevance of the image of pearls in the texts of Russian folklore. The objectives of the article are also to highlight the genre breadth within which this image functions; to mention the themes and motifs in which there are references to pearls; to reveal the symbolism of pearls in folklore texts; to note the textual partners that most often accompany the appearance of pearls in folklore. The article mostly refers to Songs Collected by P. N. Rybnikov; collections of lamentations by E. V. Barsov and B. B. Efimenkova; collection of fairy tales by A. N. Afanasyev; song collection by A. I. Sobolevsky and some other collections of local and all-Russian folklore.
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Diehl, A. V. y A. A. Butina. "Folklore origins of allegorical symbolism in the poem “Luceafărul” by M. Eminescu: linguocultural analysis". Uchenye zapiski St. Petersburg University of Management Technologies and Economics, n.º 1 (9 de abril de 2022): 24–28. http://dx.doi.org/10.35854/2541-8106-2022-1-24-28.
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This research is devoted to the study of the folklore tradition underlying some symbolic images in the poem “Luceafărul” by M. Eminescu. The purpose of the study is to examine a number of relevant cultural symbols and identify their associative specificity. To achieve the above-mentioned goal, a number of tasks were identified: to consider the main conceptual dominants of the literary world of M. Eminescu; to identify the most significant symbolic images of the poem from the linguocultural point of view and establish the specificity of their origin; to consider various options for linguocultural interpretation of the main artistic images of the poem. As a result of the conducted research, we come to the conclusion that the storyline of the poem was created under the influence of both the European cultural tradition and the folklore tradition of the Romanian people. The poem is replete with symbolic images that reveal the allegorical, dual nature of the characters and reflect the specifics of the philosophy and vision of the world of the author himself.
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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, n.º 1 (6 de junio de 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.
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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
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Foulidi, Xanthippi, George Katsadoros y Evangelos C. Papakitsos. "Customary Practices and Symbolisms at Worship Events in a Virtual Religious Community". International Journal of Multicultural and Multireligious Understanding 7, n.º 7 (7 de agosto de 2020): 45. http://dx.doi.org/10.18415/ijmmu.v7i7.1712.
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The present research in the context of Digital Folklore focuses on cultural practices and symbolisms existing at worship events in a digital environment. The method of online ethnography reveals customary practices of dominant beliefs, ideologies, behaviours, social actions, internalized patterns of behaviour, etc. that are formed during worship events in the religious digital community of the Anglican Church.
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Zavarynska, I. F. y I. M. Nestajko. "The meaning of biblical elements in the composition of Slavic phraseological units". Bulletin of Luhansk Taras Shevchenko National University, n.º 7 (345) (2021): 16–23. http://dx.doi.org/10.12958/2227-2844-2021-7(345)-16-23.
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The article considers the specifics of the semantics of the meaning of biblical elements in the composition of Slavic phraseological units, the etymology of which is based on the ideas of the Old and New Testaments is reflected in the symbolism, which is embedded in the knowledge of Christianity, in the plots of biblical texts, oral folklore and it is a precedent for a particular linguistic culture. In associative onims-components of phraseological units, motivation is expressed indirectly, with the help of different types (axiological, symbolic) associations without direct naming of the motivational feature. Symbolism can be said if a certain biblical name has the same connotation in at least several phraseological contexts. The study of language units with biblical components in the linguistic and cultural aspect involves solving a primary task – a comparative analysis of precedent information of Slavic biblical phraseology and the study of their anthropocentric and anthropometric imagery.
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Mamatov, Gleb. "The Image of Sea Maid in the Poetry of K.D. Balmont". Philology & Human, n.º 1 (27 de febrero de 2022): 140–48. http://dx.doi.org/10.14258/filichel(2022)1-11.
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The article is a complex case study of 23 poems presenting the image of the sea maid in lyric poetry of K.D. Balmont. The following conclusions has been made in the course of the works: the image of the sea maid tends to be frequent in love and erotic lyrics and is linked with decadence motives; many texts are permeated with characters of Slavic folklore, besides, it is important that some poems are poetical ‘renditions’ of famous epic songs and legends from Russian, Polish and Lithuanian folklore. Still most of the poems with folklore symbolism answer aesthetic views of the poet himself and are linked to his solar cult and his understanding of the sun as a universal creative principle, and to Balmont’s conception of beauty and harmony as a synthesis of opposed nature elements. The image of the sea maid is multifaceted in Balmont’s poetry, its development expresses the evolution of author’s worldview from typical decadence erotic and mortal motives aesthetic understanding of the nature of beauty and integrity of the world.
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Minaeva, Oksana. "Iconography of Power of the Pagan Bulgarian Ruler: Images, Symbolism and Tradition". Hiperboreea 4, n.º 2 (1 de diciembre de 2017): 5–52. http://dx.doi.org/10.5325/hiperboreea.4.2.0005.
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Abstract The ideas of ruler's power of the pagan Bulgarians and their expression are a question of debates concerning different fields of humanities such as history, archaeology, epigraphy, religious studies, and art history. The discussion proposed tends to seek the ideological basis of the ruler's power as seen through cosmogonic, religious and political notions preserved in written historical sources, traces of rites and beliefs in mythology and folklore and in the arts. Thus, the three levels of the ruler's ideology are considered: the written/verbal texts, ritual texts and visual texts in order to find out a set of iconographie formulae of expressing the power of the pagan Bulgarian ruler.
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Vasiliev, V. E. y M. T. Satanar. "Historical Origins of Circular Dance Ohuokhai: Structure, Semantics, Symbolism". Nauchnyi dialog 12, n.º 9 (7 de diciembre de 2023): 208–27. http://dx.doi.org/10.24224/2227-1295-2023-12-9-208-227.
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The relevance of studying is determined by the ongoing renaissance of the ohuohai dance in the cultural practice of modern Yakut people. The novelty of the research is seen in the proposal of a scientific version: circular dances following the course of the sun (from east to west) signified movement downward, while dances against the course of the sun (from west to east) signified movement upward. It is noted that the west and east reflected different worlds, and movements in a circle symbolized a journey along the fragile boundary between the two worlds. The work implements a comprehensive approach to the subject of study using historical-comparative, structural-semiotic, functional types of analysis, synthesis and generalization of folklore, ethnographic, linguistic, leading to a unified picture of the semantics of circular movements. The authors conclude that the modern name ‘ohuohai’ dance is an innovation of the Soviet period, absent in sources from the pre-revolutionary and early Soviet periods, in which the term ‘үҥкүү’, equally meaning the circling-dance of the shaman, is consistently mentioned. It is emphasized that the ohuohai round dance included ecstatic elements of shamanism, clearly similar to the shaman’s beliefs about transitions to other worlds.
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Nusratova, Aziza Choliboyevna. "COLOR SYMBOLS AND ETHNOLINGUISTIC ASPECTS IN ENGLISH AND UZBEK FOLK TALES". Scientific Reports of Bukhara State University 5, n.º 2 (24 de mayo de 2021): 187–97. http://dx.doi.org/10.52297/2181-1466/2021/5/2/17.
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Background. The article provides a lot of information about the commonalities between the genres of English and Uzbek folklore. In addition, in English and Uzbek fairy tales, many writers have expressed their views on the harmony of colors. There is also information about the differences between English and Uzbek fairy tales. Methods. From time immemorial, man has not only fought for his own survival, but also for the longevity of his tribe. Consequently, the content of alla, rubbish, fairy tales and riddles is primarily aimed at shaping a conscious, strong, agile and agile human upbringing. People's perceptions of the world around them and their accumulated knowledge about it, as well as their wisdom and conclusions based on life experiences, are conveyed to children in the form of specific advices and means that they can understand. That is why there is a lot in common in the folklore of different peoples, even in countries far away from each other
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Petr K., Chekalov y Borokova Liliya A. "Abaza fairy tale prose in the context of world folklore traditions". Kavkazologiya 2023, n.º 1 (30 de marzo de 2023): 276–92. http://dx.doi.org/10.31143/2542-212x-2023-1-276-292.
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The article handles the typological convergence of Abaza folk tales with Udmurt, Karelian, Tibet-an, Burmese, Vietnamese, Korean, Khmer, Mongolian folklore works. In the analysis, the main attention is paid to the comparison of storylines, figurative system. Also, there are separate reflec-tions of numerical symbolism, object images that set off the national color, features of the ethnic worldview, moral values reflected in fairy-tale prose. Other motives and details related to the cul-tural specifics of a particular folk are also revealed. The studied material leads to the conclusion that the differences in fairy tales most often relate to the figurative system. But, peoples living in different parts of the world have similar plots, themes, problems, conflicts, life situations, moral guidelines.
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Golikova, T. A. "The main trends in the formation of the modern Russian political picture of the world". Язык и текст 6, n.º 3 (2019): 43–50. http://dx.doi.org/10.17759/langt.2019060305.
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The article is devoted to the study of the processes of formation of the modern Russian political picture of the world. The latest borrowings in the field of international politics and their adaptation in Russian are analyzed. The number of contexts of use, as well as the formation of word-formative nests demonstrate the speed of change in the picture of the world, its dynamism, mobility. Appeal to the world and Soviet history and symbolism, world and Slavic folklore, national character-the main strategy of the effectiveness of the Russian political picture of the world.
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Ovchinnikova, Alexandra, Tatiana Sherstyuk, Tatiana Solovyeva y Irina Vitkovskaya. "THE FORMATION OF THE AESTHETIC ATTITUDE OF JUNIOR SCHOOLCHILDREN TO FOLKLORE MEANS THE INTEGRATION OF THE ARTS". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (28 de mayo de 2021): 444–56. http://dx.doi.org/10.17770/sie2021vol2.6420.
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The need to form the artistic and aesthetic attitude of children to folklore and to cultivate a love of popular culture actualizes the topic of the article.The purpose of the article is a theoretical justification for the possibility of integrating the arts as a means of forming the aesthetic attitude of junior schoolchildren to folklore; the development of a diagnostic apparatus (criteria, diagnostic techniques and levels) of the formation of the aesthetic attitude of children to folklore, the definition of the arts used in the training and their integration links.The authors propose the structure of the aesthetic attitude of children to folklore, the criteria of its formation (motives and needs of children to study folklore, imagery, verbalization, аbstraction, symbolism, metophorization describe the results of empirical research of the original level, the exact knowledge of which will contribute to an effective change in the aesthetic attitude of junior schoolchildren to folklore.The study is based on an analysis of philosophical and psychological-educational sources; empirical methods (pedagogical experiment, questionnaire, testing) and Methods of diagnosis of figurative and verbal development рersonality theory.The article provides examples of the judgments of junior schoolchildren, which led to the conclusion that, that children of experimental (EG) and control groups (KG) in general, show interest in the integration of arts and are at an average (61.5% EG, and 69.2% -KG) (23.1% - EG and 19.2% (KG) or low levels of the formation of aesthetic attitude to folklore. The findings suggest that further work is needed to develop this phenomenon.
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Seferova, Fera. "The role of folklore within the worldview and creative individuality of the Crimean Tatar children's writers". Филология: научные исследования, n.º 8 (agosto de 2021): 35–47. http://dx.doi.org/10.7256/2454-0749.2021.8.36119.
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The study of interrelation between folklore and literature is one of the most relevant trends in literary studies. Folk poetic symbols as the genetic memory of the nation infiltrate consciousness not only as artistic material, but also as a emotions that awaken the writer’s imagination, giving rise to various associations. The subject of this research is the creative activity of folklore is in the works of the Crimean Tatar children's writers. Examination of the folklore-mythological context, determination of the peculiarities of transformation of folklore motifs in a literary reveals the creative laboratory, allowing determining the specificities of personal reflection of the writer, as well as tracing the psychological patterns of the creative process, and the evolution of artistic thinking overall. The scientific novelty is defined by the absence within Russian literary studies of monographic and significant critical works on determination of the folklore-mythological context, transformation, functionality, and interpretation of folklore elements in works of the writers. The conclusion is made that folklore as part of the culture of a particular nation, is an organic element of the artistic world of the Crimean Tatar writers, such as E. Amit and T. Khalilov. The novel by E. Amit presents the new comprehension of myths, paroemias, and legends. An example of interaction of the mythological views and modern perspective in the novel “Last Chance” is the folk legend on the “happy and unhappy stars”. It also encompasses such ancient forms of folklore as cursing and benevolence, as well as the elements that take roots in the ancient taboos, the period of totemism. In the psychological prose by T. Khalilov, an important role is played by the symbolism of birds and plants. The ancient legend of the winged horse Duldul organically intertwines with the author's creative idea without losing its specificity.
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Nepop-Aidachych, L. "SYMBOLISM OF FLOWERS IN POLISH LANGUAGE AND CULTURE". Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, n.º 36 (2020): 48–61. http://dx.doi.org/10.17721/2075-437x.2020.36.05.
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The author explores the symbolism of flowers in the Polish language and culture. On the basis of the articles of the Dictionary of Folk Stereotypes and Symbols („Słownik stereotypów i symboli ludowych”) (Flowers Volume („Kwiaty”)), it is determined which symbolic meaning saregiven to the flower in general and to certain types of flowers, in whichgenres of folklor et hes evalues arerealized, what be camethe basis for the formation of suchmeanings. For the reconstruction of symbolic meanings boththe Polish linguistic information and the information outside the linguistic field are used, which testify to the functioning of the corresponding conceptin Polish culture. Based on the comparison of the linguistic images of the individual flowers and the flowerin generalitisre vealedt hatt hev astmajority of linguistic image softhe flowers have both common withthe general concept and differen tsymbolic meanings, som ehave only specific one sandothers do not have thematall. Ways and technique sof analysis of the symbolism of flowers in Polish language and culture are offered.
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Kolarova, Emilia. "The Phenomenon of “Crossover” and Cross-Cultural Dialogue in Bulgarian Music in 20th Century". International peer-reviewed journal 11, n.º 4 (1 de diciembre de 2023): 54–67. http://dx.doi.org/10.59850/saryn.4.11.2023.42.
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The phenomenon of “crossover” gained particular importance in numerous domains of public life, particularly in the exciting realm of art, during the twentieth century. When used to represent an “intersection” or “crossing,” it symbolises the internal need for conversation and purposeful intention for infiltration and implantation. It emphatically refuses to be isolated within the boundaries of the regional canon but allows for freedom of choice in the global context, opposes imitation and tracing, and provides a unique image for every creator. The “crossover” discourse showcases the autonomy of individual authors and results in the creation of distinct works that are characterized by their individuality. Bulgaria's musical creativity in the latter half of the 20th century is a remarkably diverse and profound display, characterized by intricate symbolism. It encompasses both elements of national tradition and expressions of global modernity, evident in its stylistic features, genre distinctions, and ethnocultural attributes. The crossover actually forms the European way of thinking of the Bulgarian creator, embodied in a peculiar part of his genetic code. Crossover dialogue gives rise in his artistic consciousness to the ideas of a new type of work, whose two- or multi-domain character turns into a sign of the new cultural identity of their authors. The formation and development of these “crossover” conversations may be seen in so different works such as Milcho Leviev’s jazz cantata “Green House” and Vassil Kazandjiev's symphonic suite “Pictures from Bulgaria.” In this context, the Bulgarian folklore heritage remains lively and distinctively recognisable, but unrepeatable in the perspective of any individual author’s viewing.