This article represents research on an obscene Ukrainian folklore text published by Fedor. Vovk. Its possible relation to the verse fairy tale, “Nikita the Tzar, and his Forty Daughters”, by Aleksandr S. Pushkin is considered. The elements of the text are given Slavic folklore parallels, which enables making a conclusion about the clearly folk origin of the creative product. The following question is raised: can the text under research possibly be a distant reverberation of the Slavic etiological myth about how women acquired genitals? While such myths might have pagan roots, a suggestion is made that pagan gods were the prototypes of the main characters in the Ukrainian text. Thus, the text, recorded as an obscene joke, can supplement the collection of aetiological myths and legends about how the original people acquired genitals.
{"title":"Этиологические заметки: «История об Иване»","authors":"Bogumil Gasanov","doi":"10.3986/sms20212407","DOIUrl":"https://doi.org/10.3986/sms20212407","url":null,"abstract":"This article represents research on an obscene Ukrainian folklore text published by Fedor. Vovk. Its possible relation to the verse fairy tale, “Nikita the Tzar, and his Forty Daughters”, by Aleksandr S. Pushkin is considered. The elements of the text are given Slavic folklore parallels, which enables making a conclusion about the clearly folk origin of the creative product. The following question is raised: can the text under research possibly be a distant reverberation of the Slavic etiological myth about how women acquired genitals? While such myths might have pagan roots, a suggestion is made that pagan gods were the prototypes of the main characters in the Ukrainian text. Thus, the text, recorded as an obscene joke, can supplement the collection of aetiological myths and legends about how the original people acquired genitals.","PeriodicalId":37944,"journal":{"name":"Studia Mythologica Slavica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47593693","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}
This paper aims to explore the phenomenon of the opera minute which emerged from the avant-garde experimentalism after WWI; its beginner and one of the foremost masters, the French composer Darius Milhaud put three short, eight-minute operas on stage in 1927. Others soon followed, among them the Slovenian composer Slavko Osterc who composed the opera-minute “Medea” in 1932. This paper is the first to transcribe in length the manuscript of Osterc’s “Medea”, comparing it to Euripides’ original. Furthermore, the article aims to establish the fine similarities and distinctions between the approach regular opera took towards myth and that of the avant-garde opera-minute.
{"title":"Myth in 300 Strokes","authors":"Gregor Pobežin, Igor Grdina","doi":"10.3986/sms20192205","DOIUrl":"https://doi.org/10.3986/sms20192205","url":null,"abstract":"This paper aims to explore the phenomenon of the opera minute which emerged from the avant-garde experimentalism after WWI; its beginner and one of the foremost masters, the French composer Darius Milhaud put three short, eight-minute operas on stage in 1927. Others soon followed, among them the Slovenian composer Slavko Osterc who composed the opera-minute “Medea” in 1932. This paper is the first to transcribe in length the manuscript of Osterc’s “Medea”, comparing it to Euripides’ original. Furthermore, the article aims to establish the fine similarities and distinctions between the approach regular opera took towards myth and that of the avant-garde opera-minute.","PeriodicalId":37944,"journal":{"name":"Studia Mythologica Slavica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44062343","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}
Archetypes express themselves in various forms and sources, but many of them can be traced in folk tales. This article describes the most significant symbols and images that reveal the deepest meaning and significance of the Mother archetype in Russian folk culture.
{"title":"IN SEARCH OF THE ARCHETYPE: FROM THE MOTHER ARCHETYPE TO THE ARCHETYPE OF BABA YAGA","authors":"Irina S. Guseva, V. G. Ivanov, M. Ivanova","doi":"10.3986/sms20192206","DOIUrl":"https://doi.org/10.3986/sms20192206","url":null,"abstract":"Archetypes express themselves in various forms and sources, but many of them can be traced in folk tales. This article describes the most significant symbols and images that reveal the deepest meaning and significance of the Mother archetype in Russian folk culture.","PeriodicalId":37944,"journal":{"name":"Studia Mythologica Slavica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46440721","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}
In the article, three female storytellers are compared – Dorothea Viehmann, Laura Gonzenbah and Tyna Wajtawa, with an investigation of their narrative repertoire and their socio-cultural background. Their fairy tales reflect multilingualism and intercultur - alism, with the influence of elements of German, Romance and Slavic cultures. Based on the comparative analysis of the ATU folktale types, it was discovered that they have all included in their repertoire a fairy tale of the folktale types ATU 402 (animal bride) and ATU 425 (searching for a lost husband). The article includes a comparative analysis of the similarities and differences of their variants of fairy tale type ATU 402 “The Animal Bride”.
{"title":"Medkulturnost v pravljicah Dorotheae Viehmann, Laure Gonzenbach in Tine Vajtove ob primeru pravljic o začarani nevesti (ATU 402)","authors":"Milena Mileva Blažič","doi":"10.3986/sms20192209","DOIUrl":"https://doi.org/10.3986/sms20192209","url":null,"abstract":"In the article, three female storytellers are compared – Dorothea Viehmann, Laura Gonzenbah and Tyna Wajtawa, with an investigation of their narrative repertoire and their socio-cultural background. Their fairy tales reflect multilingualism and intercultur - alism, with the influence of elements of German, Romance and Slavic cultures. Based on the comparative analysis of the ATU folktale types, it was discovered that they have all included in their repertoire a fairy tale of the folktale types ATU 402 (animal bride) and ATU 425 (searching for a lost husband). The article includes a comparative analysis of the similarities and differences of their variants of fairy tale type ATU 402 “The Animal Bride”.","PeriodicalId":37944,"journal":{"name":"Studia Mythologica Slavica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48788692","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}
This paper critically analyses and discusses two recent re-interpretations of the name of the Slavic god known as Sventovit. This deity was worshipped on Rugen Island, on Wittow Peninsula, at a locality called Arkona. The temple of Sventovit, with his four-headed statue, stood there on the cliff there in the Middle Ages until its destruction by the Danes in 1168/9. The paper explores an article by Michal Łuczynski published in the Polish journal Ling Varia in 2015, and a chapter on Sventovit in the book by Judith Kalik and Alexander Uchitel, titled Slavic Gods and Heroes, which was published by Routledge in 2018, in the USA and UK. In his work, Łuczynski postulated that root-stem -vit in the name of a deity is, in fact, a suffix -ovit implying its attributive character. The paper argues for a widely accepted explanation that root-stem -vit derives from the Slavic vitedzь, denoting warrior, hero, freeman, lord, master or ruler. In their book, Kalik and Uchitel argued that the name “Sventovit” was a corrupted form of the name of the Christian Saint Vitus. This article challenges this notion, arguing that the deity’s name Sventovit has nothing to do with Saint Vitus.
{"title":"Rugian Slavic God Sventovit – One More Time","authors":"Roman Zaroff","doi":"10.3986/sms20192202","DOIUrl":"https://doi.org/10.3986/sms20192202","url":null,"abstract":"This paper critically analyses and discusses two recent re-interpretations of the name of the Slavic god known as Sventovit. This deity was worshipped on Rugen Island, on Wittow Peninsula, at a locality called Arkona. The temple of Sventovit, with his four-headed statue, stood there on the cliff there in the Middle Ages until its destruction by the Danes in 1168/9. The paper explores an article by Michal Łuczynski published in the Polish journal Ling Varia in 2015, and a chapter on Sventovit in the book by Judith Kalik and Alexander Uchitel, titled Slavic Gods and Heroes, which was published by Routledge in 2018, in the USA and UK. In his work, Łuczynski postulated that root-stem -vit in the name of a deity is, in fact, a suffix -ovit implying its attributive character. The paper argues for a widely accepted explanation that root-stem -vit derives from the Slavic vitedzь, denoting warrior, hero, freeman, lord, master or ruler. In their book, Kalik and Uchitel argued that the name “Sventovit” was a corrupted form of the name of the Christian Saint Vitus. This article challenges this notion, arguing that the deity’s name Sventovit has nothing to do with Saint Vitus.","PeriodicalId":37944,"journal":{"name":"Studia Mythologica Slavica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43504669","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}
This article deals with the description of the posthumous destiny of the dead in the horror story A Terrible Vengeance by Mykola Gogol. It describes the patrimonial cemetery of the sorcerer, where all his ancestors were buried. Their corpses rise from their graves, but the first local dead man, the largest of them, cannot rise, and his movements cause earthquakes. These images can be fully understood only in comparison with Chuvash beliefs about the first buried dead person as the cemetery master and also with Zoroastrian and Ossetian mythological concepts. The Chuvashes and the Iranian-speaking nations, primarily the Ossetians, have parallels to the plot about a father coveting his daughter and killing his grandchild, the soul’s wanderings during sleep, and other related motifs. Thus, the folkloric motifs on which the story is constructed help to reveal the ethnocultural connections of the early Ukrainians.
{"title":"THE THANATOLOGICAL MOTIFS OF A TERRIBLE VENGEANCE STORY BY MYKOLA GOGOL IN THE CONTEXT OF THE ETHNOCULTURAL CONNECTIONS OF THE UKRAINIANS","authors":"Kostyantyn Rakhno","doi":"10.3986/sms20192208","DOIUrl":"https://doi.org/10.3986/sms20192208","url":null,"abstract":"This article deals with the description of the posthumous destiny of the dead in the horror story A Terrible Vengeance by Mykola Gogol. It describes the patrimonial cemetery of the sorcerer, where all his ancestors were buried. Their corpses rise from their graves, but the first local dead man, the largest of them, cannot rise, and his movements cause earthquakes. These images can be fully understood only in comparison with Chuvash beliefs about the first buried dead person as the cemetery master and also with Zoroastrian and Ossetian mythological concepts. The Chuvashes and the Iranian-speaking nations, primarily the Ossetians, have parallels to the plot about a father coveting his daughter and killing his grandchild, the soul’s wanderings during sleep, and other related motifs. Thus, the folkloric motifs on which the story is constructed help to reveal the ethnocultural connections of the early Ukrainians.","PeriodicalId":37944,"journal":{"name":"Studia Mythologica Slavica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42838182","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}
The author analyses the uses of the Christmas festive bread poprtnik and the age-old tradition of baking such offerings in Slovenia. These offerings, along with the names of certain Slavic deities, were first mentioned four hundred years ago. One of these Christmas breads has preserved its name – župnik, documented in Ribnica in Dolenjsko / Lower Carniola. This name župnik was passed on to this offering bread after the early medieval Slavic administrative unit župa, and not after the Slovenian term for a Catholic priest – župnik, which was first introduced only just after the year 1860.
{"title":"Daritvena pogača župnik in Valvasorjev Hausgötze – gospodarček","authors":"Ilija Popit","doi":"10.3986/sms20192211","DOIUrl":"https://doi.org/10.3986/sms20192211","url":null,"abstract":"The author analyses the uses of the Christmas festive bread poprtnik and the age-old tradition of baking such offerings in Slovenia. These offerings, along with the names of certain Slavic deities, were first mentioned four hundred years ago. One of these Christmas breads has preserved its name – župnik, documented in Ribnica in Dolenjsko / Lower Carniola. This name župnik was passed on to this offering bread after the early medieval Slavic administrative unit župa, and not after the Slovenian term for a Catholic priest – župnik, which was first introduced only just after the year 1860.","PeriodicalId":37944,"journal":{"name":"Studia Mythologica Slavica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45765586","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}
In 1973, Ivanov and Toporov developed an attempted reconstruction of the presumably central theme of ancient Slavic mythology, viz. the cosmic battle between the thunder-god Perunъ and his adversary Volosъ the cattle god, modelled after the analogous examples taken from Baltic folklore and Vedic mythology, whereby the Slavic god Volosъ was identified with the Vedic demon, Vala. On the same footing, in 2008, came Katicic with similar results, but he identified the Slavic god Volosъ with the Vedic demon Vrtra. However, the evidence from the primary Vedic and Sanskrit sources presented in this treatise soundly disproves the above interpretations and identifications and reveals quite a different image of the Slavic god.
{"title":"New Insights on Slavic god Volosъ/ Velesъ from a Vedic Perspective","authors":"Milorad Ivanković","doi":"10.3986/sms20192203","DOIUrl":"https://doi.org/10.3986/sms20192203","url":null,"abstract":"In 1973, Ivanov and Toporov developed an attempted reconstruction of the presumably central theme of ancient Slavic mythology, viz. the cosmic battle between the thunder-god Perunъ and his adversary Volosъ the cattle god, modelled after the analogous examples taken from Baltic folklore and Vedic mythology, whereby the Slavic god Volosъ was identified with the Vedic demon, Vala. On the same footing, in 2008, came Katicic with similar results, but he identified the Slavic god Volosъ with the Vedic demon Vrtra. However, the evidence from the primary Vedic and Sanskrit sources presented in this treatise soundly disproves the above interpretations and identifications and reveals quite a different image of the Slavic god.","PeriodicalId":37944,"journal":{"name":"Studia Mythologica Slavica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42124418","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}
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