Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2021-2-75-82
N. K. Kozlova
Folklore studies generally consider time and space in everyday tales, unlike fairy tales, as non-fantastic but close to reality. At the same time, they are unreal, just as the main character. A comparative analysis of two texts was undertaken: handwritten notes of Stepan Nikiforovich Zhirnovsky (1951) and a tape recording of Pavel Platonovich Plotnikov (2000), both having plots of the same type and registered in the Irtysh region. The story of 1951 is of a stand- ard type, with a typical everyday tale main character: an agile person, a rogue, taking advantage of any situation. His action takes place in a unreal time and space, despite the narrative being in the first person as a “true story.” When telling the story of 2000, the storyteller calls it a “tale”, but the listener is immersed in real space and time (real Sibe- rian villages during the Great Patriotic War). The credibility is confirmed by introducing the names of the people who lived at that time. The hero of the first-person narrative is not a pattern but a real man involved in complicated, absurd, and cruel life situations (although these are typical tale plot episodes). The listener realizes the hero’s terrible deeds as committed not out of malice but by accident, feels sympathy, and believes in his experiences as if it was a story of a real person from the not-so-distant wartime years. All the credit goes to the narrator, who masterfully adapts the traditional tale story to real-life circumstances.
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2021-1-47-58
Isao Shimomura
This study presents etymological deciphering using ancient Japanese ways of reading ancient Chinese scripts of the names for the five types of stringed instruments, known as komuz, tatonpa, sugut, tambur, and tonkori. Based on the phonetic variants of the term komuz written in Roman and Russian alphabets and Chinese scripts, two hypothetical forms *qonbulrsukie and *qonbulrsir were reconstructed: qon ‘sheep’, bulr ‘tendon’, sukie ‘string’, sir ‘string’. As to the form tatonpa, the ancient form *siudonbule {siu ‘boar’ + don ‘gut’ + bule ‘tendon-fiber’} was revealed. The hypothetical form *siugudi {siu ‘boar’ + gudi ‘gut’} was reconstructed from the phonetic variants of the name sugut, written in Chinese scripts. The hypothetical form *donbule {don ‘gut’ + bule ‘tendon-fiber’} was reconstructed from the phonetic variants of the name tambur written in Chinese scripts. An Ainu word tonkori consists of Altaic root-forms don ‘gut’ and kur ‘string-instrument’, followed by an Ainu suffix {i} ‘that’. We have proved that, except for the Ainu suffix {i}, all the root forms linguistically belong to Altaic lan- guages. Not a few ethnographers dealt with the etymological analysis of instrument names encountered in Siberia and the Russian Far East, mainly taking into account the context of shamanism. It is known that shamans used the instruments as tools in healing rituals. However, contrary to our expectations, the reconstructed root forms of the names revealed practical aspects of daily life.
本研究以古代日本的读法对五种弦乐器的名称进行词源解读，这五种弦乐器分别是komuz, tatonpa, sugut, tambur和tonkori。根据“komuz”一词在罗马、俄罗斯字母和汉语文字中的语音变体，重构了两种假想形式*qonbulrsukie和*qonbulrsir: qon“羊”，bulr“跟腱”，sukie“弦”，sir“弦”。关于tatonpa的形式，揭示了古代形式*siudonbule {siu '野猪' + don '肠' +蓝色'肌腱纤维'}。假设的形式*siugudi {siu ' boar ' + gudi ' gut '}是从汉字中sugut这个名字的语音变体中重建出来的。假设的形式*donbule {don ' gut ' + blue ' tenon -fiber '}是根据汉语中“tambur”这个名字的语音变体重建的。阿伊努语单词tonkori由阿尔泰语系词根形式don ' gut '和kur '弦乐器'组成，后面是阿伊努语后缀{i} ' that '。我们已经证明，除了阿伊努后缀{i}外，所有词根形式在语言学上都属于阿尔泰语系语言。不少民族学家对西伯利亚和俄罗斯远东地区遇到的乐器名称进行了词源学分析，主要考虑了萨满教的背景。众所周知，萨满在治疗仪式中使用这些乐器作为工具。然而，与我们的预期相反，名字的重构词根形式揭示了日常生活的实际方面。
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2022-2-53-62
E. S. Torokova
The paper addresses the 2nd and the 9th volumes of the series “Samples of Folk Literature of Turkic Tribes,” which include the records of V. V. Radlov and N. F. Katanov on Khakass folklore. The 2nd volume of “Samples” comprises 19 heroic tales, two historical legends, and 39 songs recorded by V. V. Radlov from the indigenous population of the Minusinsk and Achinsk districts of the Yenisei province during his scientific expedition in 1863. Khakass texts were published in Sagai, Koibal, Kachin, and Kyzyl dialects. In this study, heroic legends were divided into groups based on plot and theme. The most popular theme is the struggle of the hero against the raids of representatives of the lower world, the khans-conquerors. The second most frequent theme is family and kinship relations (betrayal of the hero’s sister or wife). The legend “Sunu Māttyr” recorded by V. V. Radlov is dedicated to the events of the 18th century. The 9th volume of “Samples” includes Abakan texts collected by N. F. Katanov, with the first section covering his gymnasium works of 1878–1884, the second presenting the expedition materials of 1889–1890, and the third dealing with the works of 1892. The recordings include works of all folklore genres. He was the first to record shamanic folklore of the Khakass. In the same territory where V. V. Radlov had been before, N. F. Katanov recorded texts in Sagai, Beltir, and Kachin dialects. His materials can be the basis for areal studies in the folklore of the Khakass people.
本文论述了“突厥部落民间文学样本”系列的第二卷和第九卷，其中包括V. V. Radlov和N. F. Katanov关于Khakass民间传说的记录。《样本》第二卷包括19个英雄故事、两个历史传说和39首歌曲，由V. V. Radlov在1863年科学考察期间从叶尼塞省Minusinsk和Achinsk地区的土著居民中记录下来。Khakass文本以Sagai, Koibal, Kachin和Kyzyl方言出版。本研究将英雄传说根据情节和主题进行分组。最受欢迎的主题是主人公与下层世界的代表——可汗征服者的袭击作斗争。第二个最常见的主题是家庭和亲属关系(英雄的姐妹或妻子的背叛)。V. V. Radlov记载的传说“Sunu Māttyr”是关于18世纪的事件。“样本”的第九卷包括N. F. Katanov收集的Abakan文本，第一部分介绍了他1878-1884年的体育馆作品，第二部分介绍了1889-1890年的探险材料，第三部分介绍了1892年的作品。这些录音包括所有民间文学流派的作品。他是第一个记录哈卡斯萨满民间传说的人。在拉德洛夫曾经去过的同一地区，卡塔诺夫用萨盖、贝尔提尔和克钦方言记录了文本。他的材料可以作为对哈卡斯人民间传说进行实地研究的基础。
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2020-2-78-88
L. A. Ilyina
The paper defines a semantic zone of non-visual sensory evidence, grammaticalized in the verbal system, as “sensory evidence.” Sensory evidence grammaticalized in the verbal system is rare in contemporary languages. It is likely to be found in languages that are or were used in the recent past traditional cultures of ancient origin. Many Eurasian languages have evidential grammatical verbal forms, with most not having sensory evidential forms. Such verbal forms were known as auditive in Eurasia only in four Samoyedic languages: Nenets, Enets, Nganasan, and Selkup. Recently, the traditional Yukaghir folklore archaic texts collected by V. I. Jochelson in the late 19th – early 20th centuries revealed similar grammatical and semantic analog of Samoyedic auditive, suggesting sensory evidential verbal grammemes to be more widespread in the past in the languages of aboriginal Northern Asia peoples, in diachronic retrospective. Our main goal was to identify the inter-disciplinary evidence of diachronically earlier communicative functions and meanings of Northern Asian sensory evidential verbal forms. These functions and meanings are most informatively presented in the archaic texts of Nenets traditional folklore, especially shaman songs and heroic epos. The paper proves basic semantics of the Northern Samoyedic sensory evidential grammemes to refer to the auditive perception of non-visible situations (events). Thus, non-visible events were opposed grammatically to visual situations by verbal forms concerned. Considering historical ethnology data in an interdisciplinary way, the author explains the fact above as a grammaticalized language replica of fundamental mental opposition of ancient mythological thinking – the opposition of visible and non-visible situations.
本文将非视觉感官证据的语义区定义为“感官证据”，该语义区在言语系统中被语法化。语言系统中语法化的感觉证据在当代语言中很少见。它很可能出现在最近或曾经在古代传统文化中使用的语言中。许多欧亚语言有明显的语法动词形式，大多数没有感官证据形式。在欧亚大陆，只有涅涅茨语、埃涅茨语、恩加纳桑语和塞尔库普语这四种萨莫耶德语中，这种口头形式被认为是听觉的。最近，V. I. Jochelson在19世纪末至20世纪初收集的尤卡吉尔族传统民俗古籍揭示了与萨莫耶迪语听觉相似的语法和语义，表明感官证据的言语语法在过去的北亚土著民族语言中更为广泛，历时回顾。我们的主要目标是确定北亚感官证据语言形式的历时早期交际功能和意义的跨学科证据。这些功能和意义在涅涅茨人传统民间传说的古老文本中，尤其是萨满歌曲和英雄史诗中，得到了最充分的体现。本文证明了北萨莫耶德感觉证据语素的基本语义，指的是对不可见情景(事件)的听觉感知。因此，非可见事件在语法上与相关的语言形式的视觉情景相对立。作者以跨学科的方式考虑历史民族学资料，将上述事实解释为古代神话思维的基本心理对立——可见与不可见情境的对立——的语法化的语言复制品。
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2020-2-118-127
E. I. Ismagilova
The book by the Chuvash musicologist M. G. Kondratiev is one of the generalizing works in ethnomusicological comparative studies of the Volga region peoples’ folklore traditions. The author of the monograph focuses on re- vealing the common phenomena at different levels of organization of folklore works in the traditional cultures of Chuvash, Tatars, Mari, and Udmurts. Musical traditions of the ethnic groups concerned are considered in comparison with the Chuvash folklore by using the specified parameter analysis. The three chapters of the first part consider the peculiarities of the Volga region historic-ethnographical location formation and analyze the musical and aesthetic conceptions of the tradition bearers in specified ethnic groups. The second part, composed of four chapters, is dedicated to analyzing the morphology and text structures of song lines of different lengths. The third part deals with contextual and structural regularities of short plot samples of Chuvash folk poetry shavra youra compared with similar monostrophic forms of Tatar, Mari, and Udmurt folk lyrics. The fourth part thoroughly examines the relations of Chuvash and individual local groups of other Volga ethnic groups at the level of genre correspondences and intonation pattern. In the summary, the author argues for his concept of the Volga-Urals civilization, determining the place of Chuvash culture within this concept as fundamentally important. The methodology approbated in M. G. Kondratiev’s book is expected to be actual for studying the problems of interaction of music-folklore traditions of Siberian peoples.
{"title":"Musical comparative studies of the folklore traditions of Volga region peoples. Book review: Kondratiev M. G. Chuvash music in the mirror of parallels: on the problem of Volga-Urals musical civilization.","authors":"E. I. Ismagilova","doi":"10.25205/2312-6337-2020-2-118-127","DOIUrl":"https://doi.org/10.25205/2312-6337-2020-2-118-127","url":null,"abstract":"The book by the Chuvash musicologist M. G. Kondratiev is one of the generalizing works in ethnomusicological comparative studies of the Volga region peoples’ folklore traditions. The author of the monograph focuses on re- vealing the common phenomena at different levels of organization of folklore works in the traditional cultures of Chuvash, Tatars, Mari, and Udmurts. Musical traditions of the ethnic groups concerned are considered in comparison with the Chuvash folklore by using the specified parameter analysis. The three chapters of the first part consider the peculiarities of the Volga region historic-ethnographical location formation and analyze the musical and aesthetic conceptions of the tradition bearers in specified ethnic groups. The second part, composed of four chapters, is dedicated to analyzing the morphology and text structures of song lines of different lengths. The third part deals with contextual and structural regularities of short plot samples of Chuvash folk poetry shavra youra compared with similar monostrophic forms of Tatar, Mari, and Udmurt folk lyrics. The fourth part thoroughly examines the relations of Chuvash and individual local groups of other Volga ethnic groups at the level of genre correspondences and intonation pattern. In the summary, the author argues for his concept of the Volga-Urals civilization, determining the place of Chuvash culture within this concept as fundamentally important. The methodology approbated in M. G. Kondratiev’s book is expected to be actual for studying the problems of interaction of music-folklore traditions of Siberian peoples.","PeriodicalId":112261,"journal":{"name":"Languages and Folklore of Indigenous Peoples of Siberia","volume":"33 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116616585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2022-1-9-21
M. G. Kondratyev
The current stage of knowledge on Tuvan folk music allows outlining the transition from the descriptiveness to using the modern music theory categories. This paper proposes an approach to the analysis of musical and poetic rhythm tested on the material of folk songs of the peoples of the Volga region. The sound-time process in the intonation of songs by Tuvan performers consists of equal periods of time, referred to in classical theory as “mora”. This unit serves as the basis for all other forms of organization of the musical rhythm of a Tuvan song. Thus, the hierarchical scale of musical rhythm is built by summation, i.e., it is opposite to the verse scale formed by division. This means that the Tuvan song rhythm is organized according to the time-measuring principle and represents a kind of quantitative system. Rhythmic cells are combined into melodic and poetic lines, into poetic quantitative systems called meters. In Tuvan songs, lines of four cells prevail, corresponding to an eight-syllable verse. The correlation of the musical process with the syllabic structure of the verse in the musical and poetic process of Tuvan songs is found at the level of the primary grouping of a uniform pulse. A syllable can be sung both for each “step” of the pulse, and stretched or sung for two, three, four (etc.) moras. A complete catalogue (index) of both fixed and theoretically possible rhythms is built from the rhythmic schemes of the lines.
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2021-2-53-65
N. B. Koshkareva
The structural classification of analytic connectors of a complex sentence of the Khanty language follows the principles developed by M. I. Cheremisina and T. A. Kolosova in the monograph “Essays on the theory of complex sentences” (1987). Single and non-single connectors can be distinguished depending on whether the complex sentence connector belongs to one predicative unit or to both ones, with single connectors belonging entirely to one of the predicative units and non-single ones consisting of two or more parts placed in different predicative units. Also, the classification takes into account the morphological nature: in the Khanty language, the analytical connectors of a complex sentence are formed based on particles or pronouns. Further, consideration is given to the number of components in the composition of a particular connector, with single-component and multicomponent (usually two-component) connectors being identified. The specificity of the Khanty language is that there are no conjunctions since synthetic and analytical-synthetic polypredicative constructions prevail. Particles and pronouns are used to connect the parts of a polypredicative construction. However, in the language of newspapers, the fund of analyt-ical connectors is actively replenished.
汉特语复句分析连接词的结构分类遵循M. I. Cheremisina和T. a . Kolosova在1987年的专著《复句理论论文集》中提出的原则。根据复合句连接词是属于一个谓语单元还是同时属于两个谓语单元，可以区分单一连接词和非单一连接词，单一连接词完全属于一个谓语单元，非单一连接词由两个或多个部分组成，放在不同的谓语单元中。此外，该分类还考虑了形态特征:汉特语复句的分析连接词是由小品或代词构成的。此外，考虑到特定连接器组成中的组件数量，确定单组件和多组件(通常是双组件)连接器。汉特语的特点是没有连词，因为合成和分析-合成多谓语结构盛行。助词和代词用于连接多谓语结构的各部分。然而，在报纸的语言中，分析连接器的资金是积极补充的。
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2023-2-76-88
A. Cheprasova
The Koryak language features an isosemic way of expressing an action model in the form of an elementary simple sentence, including a subject in the form of the ergative or instrumental case, an object in the form of the absolutive, and an action predicate. The case used for marking the subject-agent depends on its belonging to a particular part of speech, with personal pronouns marked with the ergative case and nouns with the instrumental one. The way of expressing an object cannot be varied: it always takes the form of an absolute case. The position of an instrument is optional: it is implemented if a predicate or a linguistic situation requires it and is formed by the instrumental case. The instrument represents a dependent reduced action proposition: “who does what” and, at the same time, “who uses what” to implement the action expressed by the main proposition. It is possible for the action model to be metaphorically transferred from the physical sphere to the intellectual, mental, and social spheres. When transferred to the intellectual sphere, the action model indicates the transfer of an ideal object, that of information; when transferred to the mental sphere, it denotes auditory and visual perception; when transferred to the social sphere, it expresses the meaning of possession.
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Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2022-2-33-42
N. R. Oynotkinova
The article reveals the peculiarities of the zoomorphic cultural code implementation in the mythology and rituals of the Altai people. Folklore texts of different genres: myths, legends, historical legends, tales, and ritual works of Altaians were studied using the descriptive method, the method of semantic reconstruction, and the method of motivational analysis used in ethnolinguistics. The concept of “double coding” serves as a methodological basis for studying the zoomorphic code in the mythological picture of the world of the Altaians. The culture code is understood as a way of expressing meaning when describing the material and spiritual world in the cultural space by native speakers, as well as a linguistic way of conceptualizing the surrounding world. Cultural codes in mythological texts are enclosed in lexical representatives-mythemes denoting various objects of the material and spiritual world and united by a theme. The author concludes that the zoomorphic code is one of the main ones involved in the coding of conceptual cultural meanings in the language picture of the world. The mythological interpretation of certain mythemes as zoomorphic entities in the mythological and ritual culture of Altaians provided one of the means of coding and reflecting the world picture. The zoomorphic code plays a role in the conceptualization and formation of various myths: theonyms, demonyms, names of cult objects, cosmonyms, and chrononyms. In addition, motivational models of mytheme formation are identified.
{"title":"Зооморфный код в мифоритуальной традиции алтайцев","authors":"N. R. Oynotkinova","doi":"10.25205/2312-6337-2022-2-33-42","DOIUrl":"https://doi.org/10.25205/2312-6337-2022-2-33-42","url":null,"abstract":"The article reveals the peculiarities of the zoomorphic cultural code implementation in the mythology and rituals of the Altai people. Folklore texts of different genres: myths, legends, historical legends, tales, and ritual works of Altaians were studied using the descriptive method, the method of semantic reconstruction, and the method of motivational analysis used in ethnolinguistics. The concept of “double coding” serves as a methodological basis for studying the zoomorphic code in the mythological picture of the world of the Altaians. The culture code is understood as a way of expressing meaning when describing the material and spiritual world in the cultural space by native speakers, as well as a linguistic way of conceptualizing the surrounding world. Cultural codes in mythological texts are enclosed in lexical representatives-mythemes denoting various objects of the material and spiritual world and united by a theme. The author concludes that the zoomorphic code is one of the main ones involved in the coding of conceptual cultural meanings in the language picture of the world. The mythological interpretation of certain mythemes as zoomorphic entities in the mythological and ritual culture of Altaians provided one of the means of coding and reflecting the world picture. The zoomorphic code plays a role in the conceptualization and formation of various myths: theonyms, demonyms, names of cult objects, cosmonyms, and chrononyms. In addition, motivational models of mytheme formation are identified.","PeriodicalId":112261,"journal":{"name":"Languages and Folklore of Indigenous Peoples of Siberia","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131901452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.25205/2312-6337-2019-1-89-102
I. V. Shenstova
Shor texts are an essential resource of the preservation and further development of the language of Shor, one of the indigenous peoples of Southern Siberia. Nowadays, the Shor are developing their literature. Contemporary Shor authors are using their native language creating works in various genres. The examples of the Shor written language of a wide time frame have become accessible. In the process of revitalization of the Shor language the fixation of its vocabulary is of prior importance as vocabulary accumulates ethnic notional sphere in the lexical meaning of words. Shor lexemes can be singled out from Turkic- Russian dictionaries by V. I. Verbitsky (1884), W. Radlov (1893–1911). A dictionary for students of Shor is written by N. N. Kurpeshko-Tannagasheva and F. Y. Apon`kin (1993). Nevertheless, a significant amount of material from Shor texts has not yet been reflected in lexicographic studies. The “field” organization of the vocabulary and expanded presentation of the lexemes in their actual contexts meet the needs of practical usage of Shor – in its oral and written forms and as a material for further linguistic research. This article deals with the lexemes denoting “Singing”, the notion forming one of semantic centers in the field “Music”. The main aim of the article is to show the usage of the lexemes in various contexts. These contexts are taken from original Shor texts of different genres: folk and authors` texts ((lyrics and prose).
肖尔语文本是保存和进一步发展肖尔语的重要资源，肖尔语是南西伯利亚土著民族之一。如今，肖尔人正在发展他们的文学。当代肖尔作家正在用母语创作各种体裁的作品。广泛时间范围内的肖尔书面语言的例子已经变得容易获得。短句来源在短语复兴的过程中，短语词汇的固定是至关重要的，因为短语词汇在词义中积累了民族概念范围。V. I. Verbitsky (1884)， W. Radlov(1893-1911)从突厥语-俄语词典中挑出了短词。一本供肖尔学生使用的词典是由N. N. Kurpeshko-Tannagasheva和F. Y. Apon 'kin(1993)编写的。然而，大量的材料从短文本尚未反映在词典编纂的研究。词汇的“场域”组织和词汇在实际语境中的扩展呈现满足了口语和书面语实际使用的需要，并为进一步的语言学研究提供了材料。本文论述了构成“音乐”领域语义中心之一的“歌唱”概念的词素。本文的主要目的是展示这些词汇在各种上下文中的用法。这些上下文取自不同体裁的原始短文本:民间文本和作者的文本(歌词和散文)。
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