The paper examines the polygenetic nature of images and motives in the novel by Andrei Nikolev (Egunov), with particular attention on the “Faustian code”, which allows one to comprehend the European literary tradition. The writer is known to have been exceptionally passionate about Goethe’s works. He was close to the morphology of Goethe’s culture that drew the organizing world principle from the development of biological forms. Goethe’s ideas about the relationship between the cellular tissue of organisms and the expressive tissue of culture were a text-forming force in Egunov’s creativity. Goethe’s context covers a wide range of meanings: from the eschatological category of the transformation of phenomena and the world’s transformation to the farce, for example, in the story about the Hamelin piper. Nikolev’s novel has two realities overlapped without being autonomous and separate. Against the backdrop of the flickering plot of “Faust,” a plot twist appears: instead of a bet and a contract, one can see a convergence of the themes of Faust and Mephistopheles. Perception is interpreted as a respiratory problem. The narration is structured in such a way as to restrain the activity of themes associated with the image of the “fist” (Faust), transcending them with one meaning: creativity as the natural state of man. The search for the ultimate universal representation of the “poetic person” serves as the original meaning for the shape of events acquired in the novel. The mode of being that defines the poet possesses no categories of gender.
{"title":"Goethe’s voice in the novel of Andrei Nikolev “Beyond Tula”","authors":"G. Vasilyeva","doi":"10.17223/18137083/83/4","DOIUrl":"https://doi.org/10.17223/18137083/83/4","url":null,"abstract":"The paper examines the polygenetic nature of images and motives in the novel by Andrei Nikolev (Egunov), with particular attention on the “Faustian code”, which allows one to comprehend the European literary tradition. The writer is known to have been exceptionally passionate about Goethe’s works. He was close to the morphology of Goethe’s culture that drew the organizing world principle from the development of biological forms. Goethe’s ideas about the relationship between the cellular tissue of organisms and the expressive tissue of culture were a text-forming force in Egunov’s creativity. Goethe’s context covers a wide range of meanings: from the eschatological category of the transformation of phenomena and the world’s transformation to the farce, for example, in the story about the Hamelin piper. Nikolev’s novel has two realities overlapped without being autonomous and separate. Against the backdrop of the flickering plot of “Faust,” a plot twist appears: instead of a bet and a contract, one can see a convergence of the themes of Faust and Mephistopheles. Perception is interpreted as a respiratory problem. The narration is structured in such a way as to restrain the activity of themes associated with the image of the “fist” (Faust), transcending them with one meaning: creativity as the natural state of man. The search for the ultimate universal representation of the “poetic person” serves as the original meaning for the shape of events acquired in the novel. The mode of being that defines the poet possesses no categories of gender.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578273","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 paper considers the moral, philosophical, ethical, and aesthetic potential of Pushkin’s poem “The Gypsies” in the vast historical, cultural, and literary context. This potential served as the ideological, semantic, and artistic-eidetic source of all subsequent “gypsy texts” of Russian literature reinterpreting the motifs, images, narratives, mythologemes, and archetypes stemming from the romantic story of the tragic love of Aleko and Zemfira. The focus is on the transformation poetics of the plot under study and its motif-image structure in the prose of the early 20th century. Following the methodological principles of cognitive literary criticism, the phenomenon of the “gypsy semiosphere” is studied in the stories of M. Gorky, “Makar Chudra,” and I. A. Bunin, “Bonfire,” at different levels of textual creation using historical-genetic, structural-semantic, systemic, and holistic research methods. The study has revealed a system of concepts and narrative schemes coming from “The Gypsies” and having a constant character enriched by the life and historical experience of Russian writers of the Silver Age. The ethnographic exoticism of the gypsy world in Russian literature proved to actualize the exceptional feelings and spiritual intensity of the internal processes of human existence subject to the power of the “passions of the fatal.” The love theme in its gypsy national-cultural nuance acquires a stereotypical character in the literature of the late 19th early 20th centuries. The image of the bonfire as a semiotic marker is analyzed through the artistic creation of the precedent “burning heart” plot by M. Gorky and I. A. Bunin.
{"title":"Pushkin’s “The Gypsies”: on a plot precedent in the stories of M. Gorky and I. A. Bunin","authors":"I. S. Uryupin","doi":"10.17223/18137083/83/5","DOIUrl":"https://doi.org/10.17223/18137083/83/5","url":null,"abstract":"The paper considers the moral, philosophical, ethical, and aesthetic potential of Pushkin’s poem “The Gypsies” in the vast historical, cultural, and literary context. This potential served as the ideological, semantic, and artistic-eidetic source of all subsequent “gypsy texts” of Russian literature reinterpreting the motifs, images, narratives, mythologemes, and archetypes stemming from the romantic story of the tragic love of Aleko and Zemfira. The focus is on the transformation poetics of the plot under study and its motif-image structure in the prose of the early 20th century. Following the methodological principles of cognitive literary criticism, the phenomenon of the “gypsy semiosphere” is studied in the stories of M. Gorky, “Makar Chudra,” and I. A. Bunin, “Bonfire,” at different levels of textual creation using historical-genetic, structural-semantic, systemic, and holistic research methods. The study has revealed a system of concepts and narrative schemes coming from “The Gypsies” and having a constant character enriched by the life and historical experience of Russian writers of the Silver Age. The ethnographic exoticism of the gypsy world in Russian literature proved to actualize the exceptional feelings and spiritual intensity of the internal processes of human existence subject to the power of the “passions of the fatal.” The love theme in its gypsy national-cultural nuance acquires a stereotypical character in the literature of the late 19th early 20th centuries. The image of the bonfire as a semiotic marker is analyzed through the artistic creation of the precedent “burning heart” plot by M. Gorky and I. A. Bunin.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"35 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578309","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 study determines the structural and semantic features of the reflexive (reflexive voice) in Khakass, taking into account the peculiarities of the Turkic conceptualization of the reflexivity semantics in the language. The paper considers the aspects of the study of the voice category in the theory of linguistics and presents the discussion of linguists regarding the nature of the reflexive. It is indicated that a reflexive verb in the Khakass language denotes the active action of its agent, i.e., the source and the object of the action. It is shown that reflexive is formed from transitive and intransitive verbs with agentive semantics. The following basic signs of reflexivity are defined: agentivity, abstractness, intransitivity, and semi-transitivity. The main semantic types of reflexive in the Khakass language have been revealed, including the medial, partitive-reflexive, total, benefactive, autocausative, and decausative. The study results are as follows: 1) the meaning of the reflexive in the Khakass language does not go beyond its semantic limits in other languages; 2) modification of active verbs into the reflexive causes a full or partial generalization of action; 3) a partial generalization maintains the action transitivity to the object that is in a possessive relationship with the subject, creating a reflexive verb of activity; 4) a complete generalization makes the action intransitive, forming a reflexive verb of quality; 5) the reflexive meaning can be supplemented with active one. The work was performed with data from the Electronic Corpus of the Khakass language and personal fieldwork data.
{"title":"Reflexive in the Khakass language: structure and semantics","authors":"I. L. Kyzlasova","doi":"10.17223/18137083/83/18","DOIUrl":"https://doi.org/10.17223/18137083/83/18","url":null,"abstract":"This study determines the structural and semantic features of the reflexive (reflexive voice) in Khakass, taking into account the peculiarities of the Turkic conceptualization of the reflexivity semantics in the language. The paper considers the aspects of the study of the voice category in the theory of linguistics and presents the discussion of linguists regarding the nature of the reflexive. It is indicated that a reflexive verb in the Khakass language denotes the active action of its agent, i.e., the source and the object of the action. It is shown that reflexive is formed from transitive and intransitive verbs with agentive semantics. The following basic signs of reflexivity are defined: agentivity, abstractness, intransitivity, and semi-transitivity. The main semantic types of reflexive in the Khakass language have been revealed, including the medial, partitive-reflexive, total, benefactive, autocausative, and decausative. The study results are as follows: 1) the meaning of the reflexive in the Khakass language does not go beyond its semantic limits in other languages; 2) modification of active verbs into the reflexive causes a full or partial generalization of action; 3) a partial generalization maintains the action transitivity to the object that is in a possessive relationship with the subject, creating a reflexive verb of activity; 4) a complete generalization makes the action intransitive, forming a reflexive verb of quality; 5) the reflexive meaning can be supplemented with active one. The work was performed with data from the Electronic Corpus of the Khakass language and personal fieldwork data.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578352","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 paper summarizes the mechanisms used in the Ulch language to denote comparison as a broad cognitive category. Referring to numerous studies of various languages, the author examines a variety of possible comparative relations between objects and events and divides them into four types: comparative and superlative (inequality group), equative and simulative (equality group). Each type features a set of linguistic means used to verbalize a specific degree of similarity or superiority, including syntactic constructions, grammatical markers, and lexical units. The analysis has revealed that all four types can be found in the Ulch folklore texts. A conclusion is drawn that the Ulch language lacks a holistic grammatical category of comparison of adjectives or adverbs, resulting in a diverse but economic set of means of expressing comparison. Overall, the comparative mechanisms in Ulch cover the syntactic (two-noun constructions in nominative and instrumental cases in comparative structures or the conjunction umutu/omoto in simulative ones), grammatical (suffixes -achi/machi and mat/mot/meti), and lexical (adverbs of degree: chӯ, tes, badi, ӡin-ӡin, and others) levels. Considerable overlap between equative and similative subtypes has been identified. In addition, the adverbs of degree typically describing superlative relations can also be used in comparative constructions and, in some cases, in constructions describing equality relations. Consideration is also given to the basic components of various comparative structures (objects of comparison, standards, parameters, etc.) for each subtype, highlighting the elements essential for modeling a comparative situation and those that may be included or omitted depending on the context.
{"title":"Ways of expressing comparison in the Ulch language","authors":"Viktoriya A. Gorbunova","doi":"10.17223/18137083/83/22","DOIUrl":"https://doi.org/10.17223/18137083/83/22","url":null,"abstract":"The paper summarizes the mechanisms used in the Ulch language to denote comparison as a broad cognitive category. Referring to numerous studies of various languages, the author examines a variety of possible comparative relations between objects and events and divides them into four types: comparative and superlative (inequality group), equative and simulative (equality group). Each type features a set of linguistic means used to verbalize a specific degree of similarity or superiority, including syntactic constructions, grammatical markers, and lexical units. The analysis has revealed that all four types can be found in the Ulch folklore texts. A conclusion is drawn that the Ulch language lacks a holistic grammatical category of comparison of adjectives or adverbs, resulting in a diverse but economic set of means of expressing comparison. Overall, the comparative mechanisms in Ulch cover the syntactic (two-noun constructions in nominative and instrumental cases in comparative structures or the conjunction umutu/omoto in simulative ones), grammatical (suffixes -achi/machi and mat/mot/meti), and lexical (adverbs of degree: chӯ, tes, badi, ӡin-ӡin, and others) levels. Considerable overlap between equative and similative subtypes has been identified. In addition, the adverbs of degree typically describing superlative relations can also be used in comparative constructions and, in some cases, in constructions describing equality relations. Consideration is also given to the basic components of various comparative structures (objects of comparison, standards, parameters, etc.) for each subtype, highlighting the elements essential for modeling a comparative situation and those that may be included or omitted depending on the context.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578598","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 paper presents the results of the typological study of the tunes of the spring songs of Belarusian settlers of Siberia and the Far East. The author has analyzed the archival and published recordings of spring songs made in 1970–1990 in the major regions of the settlement of Belarusians (Novosibirsk, Kemerovo, Omsk regions, Krasnoyarsk, and Primorsky territories). The analysis focused on the structural and rhythmic organization of tunes, considered the most important aspect of calendar songs. Studying the tunes of the songs of Belarusian settlers of Siberia and the Far East allowed the author to divide the spring songs into groups, correlating by their structure with the types of tunes identified by the Belarusian ethnomusicologist Z. Ya. Mozheiko. It was found that the Siberian collection contains tunes of type III ves., as well as, in a modified form, VI rus. and IX ves.-kup. (according to Z. Ya. Mozheiko). The spring ritual songs of Belarusian settlers were found to be based on other typical rhythmic formulas from the Belarusian classification: “arrow,” “stream,” and the rhythmic formula of the main type of carol songs. One group of songs was identified to be based on the verse structure “kolomyika,” common to the East Slavic peoples. The tunes of some songs cannot be classified as typical, although they do have the features of formulaicity. Seasonally timed songs tend to be based on the same verse structures and rhythmic formulas as the ritual ones. Of particular importance are round dance songs.
{"title":"Spring songs of Belarusians of Siberia and the Far East: structural-rhythmic typology","authors":"T. V. Dayneko","doi":"10.17223/18137083/82/1","DOIUrl":"https://doi.org/10.17223/18137083/82/1","url":null,"abstract":"The paper presents the results of the typological study of the tunes of the spring songs of Belarusian settlers of Siberia and the Far East. The author has analyzed the archival and published recordings of spring songs made in 1970–1990 in the major regions of the settlement of Belarusians (Novosibirsk, Kemerovo, Omsk regions, Krasnoyarsk, and Primorsky territories). The analysis focused on the structural and rhythmic organization of tunes, considered the most important aspect of calendar songs. Studying the tunes of the songs of Belarusian settlers of Siberia and the Far East allowed the author to divide the spring songs into groups, correlating by their structure with the types of tunes identified by the Belarusian ethnomusicologist Z. Ya. Mozheiko. It was found that the Siberian collection contains tunes of type III ves., as well as, in a modified form, VI rus. and IX ves.-kup. (according to Z. Ya. Mozheiko). The spring ritual songs of Belarusian settlers were found to be based on other typical rhythmic formulas from the Belarusian classification: “arrow,” “stream,” and the rhythmic formula of the main type of carol songs. One group of songs was identified to be based on the verse structure “kolomyika,” common to the East Slavic peoples. The tunes of some songs cannot be classified as typical, although they do have the features of formulaicity. Seasonally timed songs tend to be based on the same verse structures and rhythmic formulas as the ritual ones. Of particular importance are round dance songs.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577817","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 paper presents the conceptual structure of the factual database “Tomsk media anomaly” covering all the media in Tomsk and the Tomsk Oblast of the 1990s. The authors analyze the state of the research field for understanding the processes of transformation of journalism in the 1990s. A consistent description is given of the stages of conceptual design. The first stage involved planning a system of tasks to be solved using the information resource developed. The second stage was to analyze the subject area and develop its infological scheme by defining the main objects to be described and identifying their relationships within the framework of the subject area. The third stage was focused on generating a data logical schema of the database, representing the structure of the table fields, displaying the attributes of the described objects. The paper explains the structures of the central table and supplementary tables. Also, the examples of how to solve research problems by means of the tables are provided. The authors suggest that the database concept will provide a full-fledged information resource for recording and quantitatively processing the data on Tomsk and Tomsk Oblast media. The development of a database based on conceptual design is part of the general methodology for studying the transformation of Tomsk and the Tomsk Oblast media system.
{"title":"“The unexplored nineties”: systematization of sources and conceptual design of the database (a case study of Tomsk and Tomsk Oblast media system of the 1990s)","authors":"N. Zhilyakova, N. A. Mishankina","doi":"10.17223/18137083/82/23","DOIUrl":"https://doi.org/10.17223/18137083/82/23","url":null,"abstract":"The paper presents the conceptual structure of the factual database “Tomsk media anomaly” covering all the media in Tomsk and the Tomsk Oblast of the 1990s. The authors analyze the state of the research field for understanding the processes of transformation of journalism in the 1990s. A consistent description is given of the stages of conceptual design. The first stage involved planning a system of tasks to be solved using the information resource developed. The second stage was to analyze the subject area and develop its infological scheme by defining the main objects to be described and identifying their relationships within the framework of the subject area. The third stage was focused on generating a data logical schema of the database, representing the structure of the table fields, displaying the attributes of the described objects. The paper explains the structures of the central table and supplementary tables. Also, the examples of how to solve research problems by means of the tables are provided. The authors suggest that the database concept will provide a full-fledged information resource for recording and quantitatively processing the data on Tomsk and Tomsk Oblast media. The development of a database based on conceptual design is part of the general methodology for studying the transformation of Tomsk and the Tomsk Oblast media system.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577954","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 review presents the second volume of the Bibliographic Index publications on the works of M. Bulgakov of 1941–1985, compiled by the working group of the Russian State Art Library. These two volumes are the first complete set of Russian-language studies of Bulgakov. A brief annotation to each bibliographic unit (about four thousand of them) should be recognized as a significant benefit of this book. The second volume of the Index covers Bulgakov’s “boom” of the 1960s, when the forgotten and never-before-published works were revealed to the reading public, and, primarily, the novel “Master and Margarita.” At that time, numerous memoirs about Bulgakov, the first philological articles about his work, and the first books about him began to appear. It was a period of early academic research on Bulgakov. Therefore, the material of the second volume differs significantly from the first but is no less interesting. The sources are divided into domestic and foreign: the first part includes the texts written by Bulgakov and about him, published in the USSR from 1941 to 1985. The second part of the Index includes the Russian-language editions published in other countries.
{"title":"A book review: M.A. Bulgakov: Annotated bibliographic index. Vol. 2, 1941–1985. Rus. state library of arts; M.V. Mishurovskaya, I.S. Efimova, O.V. Golubeva (comps.); M.V. Mishurovskaya (ed.); A.V. Akimenko (bibliography ed.). Moscow, RGBI, 2021, 816 р.","authors":"E. Yablokov","doi":"10.17223/18137083/82/24","DOIUrl":"https://doi.org/10.17223/18137083/82/24","url":null,"abstract":"The review presents the second volume of the Bibliographic Index publications on the works of M. Bulgakov of 1941–1985, compiled by the working group of the Russian State Art Library. These two volumes are the first complete set of Russian-language studies of Bulgakov. A brief annotation to each bibliographic unit (about four thousand of them) should be recognized as a significant benefit of this book. The second volume of the Index covers Bulgakov’s “boom” of the 1960s, when the forgotten and never-before-published works were revealed to the reading public, and, primarily, the novel “Master and Margarita.” At that time, numerous memoirs about Bulgakov, the first philological articles about his work, and the first books about him began to appear. It was a period of early academic research on Bulgakov. Therefore, the material of the second volume differs significantly from the first but is no less interesting. The sources are divided into domestic and foreign: the first part includes the texts written by Bulgakov and about him, published in the USSR from 1941 to 1985. The second part of the Index includes the Russian-language editions published in other countries.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577961","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}
Rayisa B. Unarokova, A. Sokolova, Elza Kh. Khakunova
The collaborative team of the authors of the Adyghe State University created a folklore subcorpus of the Adyghe linguistic corpus, comprising more than 3000 words and word combinations drawn from archival sources and expeditionary materials recorded in the Republic of Adyghea and among the Circassians of Turkey. The Adyghe ritual incantations used in various ritual situations, weddings, and clan and family festivals, have been compiled into a separate collection. Here we consider two poetic forms of musically intoned and non- toned genres of the ritual folklore of the Adyghes: dzhegoklo tepch”ekher “ritual incantations of dzheguako” and dzheguako kladzhekher “extemporaneous invocation of dzheguako.” The formulas of ritual incantations are found to feature at least five thematic clichés. The invocations are systematized according to several criteria: by the addressee, semantic content, and structure (verbal and musical) by the concordance with the folk tune. The paper describes the subethnic differences in using invocations and their names. The semantic and construction formulas are identified, allowing non-intonated and musical-poetic exclamations to be transmitted to a new generation. The materials of the folklore sub-corpus of the linguistic corpus of the Adyghe language allowed new terms and concepts to be introduced into folklore studies: tepch”ekher “ritual incantation, ritual appeal to participants of the ceremony”; kladzhekher “improvisational invocations and appeals”; kledzheguakh’ “final coda of wedding ceremony”; k1ekuuakh’ (Bzhedughe, literally: “accompany with shouts”) “short rhythmic verbal cues, humorous remarks.” High ideals of traditional culture, especially the etiquette norms of interaction in the society, manifest themselves through dzhegoklo tepch”ekher and kladzhekher.
{"title":"Ritual and extemporaneous incantations of dzheguako in the context of the ceremonial culture of Adyghes (within the scope of corpus research of the Adyghe language)","authors":"Rayisa B. Unarokova, A. Sokolova, Elza Kh. Khakunova","doi":"10.17223/18137083/82/3","DOIUrl":"https://doi.org/10.17223/18137083/82/3","url":null,"abstract":"The collaborative team of the authors of the Adyghe State University created a folklore subcorpus of the Adyghe linguistic corpus, comprising more than 3000 words and word combinations drawn from archival sources and expeditionary materials recorded in the Republic of Adyghea and among the Circassians of Turkey. The Adyghe ritual incantations used in various ritual situations, weddings, and clan and family festivals, have been compiled into a separate collection. Here we consider two poetic forms of musically intoned and non- toned genres of the ritual folklore of the Adyghes: dzhegoklo tepch”ekher “ritual incantations of dzheguako” and dzheguako kladzhekher “extemporaneous invocation of dzheguako.” The formulas of ritual incantations are found to feature at least five thematic clichés. The invocations are systematized according to several criteria: by the addressee, semantic content, and structure (verbal and musical) by the concordance with the folk tune. The paper describes the subethnic differences in using invocations and their names. The semantic and construction formulas are identified, allowing non-intonated and musical-poetic exclamations to be transmitted to a new generation. The materials of the folklore sub-corpus of the linguistic corpus of the Adyghe language allowed new terms and concepts to be introduced into folklore studies: tepch”ekher “ritual incantation, ritual appeal to participants of the ceremony”; kladzhekher “improvisational invocations and appeals”; kledzheguakh’ “final coda of wedding ceremony”; k1ekuuakh’ (Bzhedughe, literally: “accompany with shouts”) “short rhythmic verbal cues, humorous remarks.” High ideals of traditional culture, especially the etiquette norms of interaction in the society, manifest themselves through dzhegoklo tepch”ekher and kladzhekher.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"24 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578034","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 analyzes the song inclusions in the tales of Forest Yukaghirs, the content of such pieces, their purposes, and origin. Song segments are found in animal tales, including mythological ones, fairy tales about a Fabulous Old Man-eater, and everyday fairy tales. The song inclusions mostly convey the monological speech of the characters and include lexical repetitions. The song inclusions considered are mainly the magical appeal of one hero to another, a personal story, or a real personal situation. Some of them can be characterized as personal songs. Characters endowed with supernatural powers use the song as a magical ritual. These characters include heroes with shamanic powers and the ogre giant, the Fabulous Old Man. The magical potential of the song, aimed at summoning and embodying something, can also be evoked by ordinary people, even unintentionally. Songs-appeals of some characters to others are performed in magical situations, facilitating their manifestation. The fairy tales provide indirect indications of the shamanic power of the singing characters. Alternatively, the songs addressed to other persons can be performed by ordinary characters, usually represented by animals. Songs as personal narratives or real personal situations can be found mainly in the tales about animals. The song inclusions are based on the representations of shamanic activity, magical abilities, and the song type of storytelling, as evidenced by the existence of both non-fairy and fairy tale Yukaghir prose.
{"title":"Song inclusions in the fairy-tale folklore of Forest Yukaghirs","authors":"P. E. Prokopeva","doi":"10.17223/18137083/83/2","DOIUrl":"https://doi.org/10.17223/18137083/83/2","url":null,"abstract":"This paper analyzes the song inclusions in the tales of Forest Yukaghirs, the content of such pieces, their purposes, and origin. Song segments are found in animal tales, including mythological ones, fairy tales about a Fabulous Old Man-eater, and everyday fairy tales. The song inclusions mostly convey the monological speech of the characters and include lexical repetitions. The song inclusions considered are mainly the magical appeal of one hero to another, a personal story, or a real personal situation. Some of them can be characterized as personal songs. Characters endowed with supernatural powers use the song as a magical ritual. These characters include heroes with shamanic powers and the ogre giant, the Fabulous Old Man. The magical potential of the song, aimed at summoning and embodying something, can also be evoked by ordinary people, even unintentionally. Songs-appeals of some characters to others are performed in magical situations, facilitating their manifestation. The fairy tales provide indirect indications of the shamanic power of the singing characters. Alternatively, the songs addressed to other persons can be performed by ordinary characters, usually represented by animals. Songs as personal narratives or real personal situations can be found mainly in the tales about animals. The song inclusions are based on the representations of shamanic activity, magical abilities, and the song type of storytelling, as evidenced by the existence of both non-fairy and fairy tale Yukaghir prose.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67578457","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}
Reduplicated nouns such as krasota-krasota, mama-mama, and others, have been widely used in modern colloquial speech and attracted the interest of Russian and foreign linguists. This paper identifies how the functioning of these words depends on their relation to the lexico- grammatical classes and thematic groups. The characteristics underlying the peculiar seman- tics of all reduplicated nouns are specified: the comparison of several objects, with one of them fully expressing an individual / general image of a phenomenon; the substantive nature involving more than one feature in the word meaning. The classification is based on several criteria, the main one being the attributability to personal nouns (muzh-muzh, podruga- podruga) or impersonal nouns (veter-veter, derevnya-derevnya). For impersonal reduplicated nouns, the essential characteristics are their correlation with adjectives or their belonging to material, abstract, or concrete nouns or thematic groups (celebrations, seasons, clothes). These characteristics determine the following functions: the intensification of one characteristic, the combination of a greater intensification and a subject’s image of the best model, a complete correspondence to an individual / common image of a phenomenon, a high emotional evalua- tion, and others. The range of functions of personal reduplicated nouns is highly varied, de- pending not only on their belonging to a particular group (nominations based on gender and age, family and interpersonal relations, kind of activity) but also on extralinguistic factors, semantic peculiarities of a basic noun, and others. Reduplication can change a hierarchy of semes in the structure of a lexical meaning, actualizing the role of peripheral and implicit semes.
{"title":"Lexico-grammatical characteristics and features of the functioning of reduplicated nouns in modern Russian","authors":"I. Matkhanova, L. N. Khramtsova","doi":"10.17223/18137083/82/20","DOIUrl":"https://doi.org/10.17223/18137083/82/20","url":null,"abstract":"Reduplicated nouns such as krasota-krasota, mama-mama, and others, have been widely used in modern colloquial speech and attracted the interest of Russian and foreign linguists. This paper identifies how the functioning of these words depends on their relation to the lexico- grammatical classes and thematic groups. The characteristics underlying the peculiar seman- tics of all reduplicated nouns are specified: the comparison of several objects, with one of them fully expressing an individual / general image of a phenomenon; the substantive nature involving more than one feature in the word meaning. The classification is based on several criteria, the main one being the attributability to personal nouns (muzh-muzh, podruga- podruga) or impersonal nouns (veter-veter, derevnya-derevnya). For impersonal reduplicated nouns, the essential characteristics are their correlation with adjectives or their belonging to material, abstract, or concrete nouns or thematic groups (celebrations, seasons, clothes). These characteristics determine the following functions: the intensification of one characteristic, the combination of a greater intensification and a subject’s image of the best model, a complete correspondence to an individual / common image of a phenomenon, a high emotional evalua- tion, and others. The range of functions of personal reduplicated nouns is highly varied, de- pending not only on their belonging to a particular group (nominations based on gender and age, family and interpersonal relations, kind of activity) but also on extralinguistic factors, semantic peculiarities of a basic noun, and others. Reduplication can change a hierarchy of semes in the structure of a lexical meaning, actualizing the role of peripheral and implicit semes.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577855","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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