“River” is regarded as one of the most archaic mythologemes. Although inspired by mythological sources, the literature is not limited to them. The river concepts characteristic of folklore and tradition receive new meanings and interpretations. Moreover, motifs and plots related to rivers grow in number because new ones are created by writers. This study aims to examine the river motifs and plots and to analyze their semantics in the works of writers who are the representatives of the indigenous peoples of Siberia. Motif analysis is used to identify recurrent motifs and plots in the works of various authors. Semiotic analysis reveals their meanings and discovers not only their genetic relation to mythology and folklore but also new writers’ interpretations. On the one hand, all writers refer to the river as a poetic topos of the homeland. On the other hand, following the mythological tradition, the authors continue to consider the river as a boundary or a way-crossing to the other world, taking into account that in literature, it is the human who is responsible for the way “downstream” or for the will- movement to death after violating the moral laws. Even though the writers come from different national cultures of Siberia, their literary works share a common semantics of the river mythologeme because of its rich mythopoetic potential and due to equally pessimistic reflections of the authors on the fate of their peoples.
{"title":"Mythologeme of the river in the prose of writers – representatives of indigenous peoples of the North and Siberia","authors":"N. A. Nepomnyashchikh","doi":"10.17223/18137083/82/15","DOIUrl":"https://doi.org/10.17223/18137083/82/15","url":null,"abstract":"“River” is regarded as one of the most archaic mythologemes. Although inspired by mythological sources, the literature is not limited to them. The river concepts characteristic of folklore and tradition receive new meanings and interpretations. Moreover, motifs and plots related to rivers grow in number because new ones are created by writers. This study aims to examine the river motifs and plots and to analyze their semantics in the works of writers who are the representatives of the indigenous peoples of Siberia. Motif analysis is used to identify recurrent motifs and plots in the works of various authors. Semiotic analysis reveals their meanings and discovers not only their genetic relation to mythology and folklore but also new writers’ interpretations. On the one hand, all writers refer to the river as a poetic topos of the homeland. On the other hand, following the mythological tradition, the authors continue to consider the river as a boundary or a way-crossing to the other world, taking into account that in literature, it is the human who is responsible for the way “downstream” or for the will- movement to death after violating the moral laws. Even though the writers come from different national cultures of Siberia, their literary works share a common semantics of the river mythologeme because of its rich mythopoetic potential and due to equally pessimistic reflections of the authors on the fate of their peoples.","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":"67578164","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 addresses the semantics of dialectal names of mutovka (a stick with branches at the end used for mixing or stirring), with all of them belonging to the lexical-thematic micro-group “Utensils” in the Yakut language. Over 40 dialect names of mutovka with different connotations have been identified in dialectological, lexicographical, and ethnographic materials. The nomination principles of mutovka are determined on the external form and functions. The form and structure of mutovkas (round, branched, cross-shaped), material (wood, cow horn) depend on their purpose. Mutovka has different functions: for whipping koumiss, cream, or butter, and others, with the movement of the tool also of importance for nomination. The basic characteristic of any mutovka is ytyyyy “mixing, stirring, and churning.” The comparative analysis revealed that the Yakut lexemes ytyk and bhiheyeh indicate a common Turkic similarity. Most names of mutovka are part of the lexical fund of the Yakut language developed in the linguistic landscape of modern Yakuts (Sakha). Also, the dialect names bilier, biriel “kumys mutovka” have been found to have Mongolian roots. A semantic description allowed the origin of khamnatar “kumys mutovka” to be determined as an apotropaic lexeme with both all-Yakutian and dialectal meaning. The semantics of the mutovka names concerned reflects the cattle-breeding culture of Yakuts (Sakha) developed and spread in the subcontinental climate in the vast territory of the North-East of Russia. The findings specify the lexical-semantic micro-groups “Tableware,” “Utensils” to “Kumys ware and utensils,” “Ytyk,” to compile the thematic lists of Yakut household culture.
{"title":"Dialect names of mutovka in the Yakut language (a case study of lexicographic sources)","authors":"E. Nikolaev","doi":"10.17223/18137083/83/15","DOIUrl":"https://doi.org/10.17223/18137083/83/15","url":null,"abstract":"This paper addresses the semantics of dialectal names of mutovka (a stick with branches at the end used for mixing or stirring), with all of them belonging to the lexical-thematic micro-group “Utensils” in the Yakut language. Over 40 dialect names of mutovka with different connotations have been identified in dialectological, lexicographical, and ethnographic materials. The nomination principles of mutovka are determined on the external form and functions. The form and structure of mutovkas (round, branched, cross-shaped), material (wood, cow horn) depend on their purpose. Mutovka has different functions: for whipping koumiss, cream, or butter, and others, with the movement of the tool also of importance for nomination. The basic characteristic of any mutovka is ytyyyy “mixing, stirring, and churning.” The comparative analysis revealed that the Yakut lexemes ytyk and bhiheyeh indicate a common Turkic similarity. Most names of mutovka are part of the lexical fund of the Yakut language developed in the linguistic landscape of modern Yakuts (Sakha). Also, the dialect names bilier, biriel “kumys mutovka” have been found to have Mongolian roots. A semantic description allowed the origin of khamnatar “kumys mutovka” to be determined as an apotropaic lexeme with both all-Yakutian and dialectal meaning. The semantics of the mutovka names concerned reflects the cattle-breeding culture of Yakuts (Sakha) developed and spread in the subcontinental climate in the vast territory of the North-East of Russia. The findings specify the lexical-semantic micro-groups “Tableware,” “Utensils” to “Kumys ware and utensils,” “Ytyk,” to compile the thematic lists of Yakut household culture.","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":"67578244","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}
L. M. Shumskaya, E. I. Biliutenka, Iryna K. Komarova
The Petersburg diaries (“Blue Book,”, “Black Notebooks,” “Black Book,” and “Gray Notepad”) document the attitude of Z. N. Gippius to the events related to the historical upheavals in Russia in the early 20th century. Searching for new ideas about personal freedom and choice in the epoch of historical cataclysms, the writer asserts the principles of new spirituality allowing one withstand the great upheavals of the era and achieve true freedom, found in God as a guarantor of the harmonious personality development. This study has established that the writer solves the problems suggested in the diaries by comprehending the fate of Russia during the First World War and the February and October revolutions of 1917 and searching for new humanistic ideals. She condemns the destructive nature of the revolution that causes the loss of moral ideals. Of particular relevance to the writer is the assertion of a specific, effective and practical humanism that takes into account the moral component of human life, approves the moral way of life, and combines practical actions with a focus on the individual as the ultimate goal. For Gippius, the ideal is embodied in the Russian intelligentsia with humanistic ability to sympathy, compassion, sacrifice, and sanctity and potential to withstand the political cataclysms of Russia. The aesthetic findings of Gippius in her Petersburg diaries embrace the inclusion of various associative chains into the forms of auto-documentary literature, enrichment of particular historical images with universal symbols, and synthesis of lyrical self-expression and an epic worldview.
彼得堡日记(“蓝皮书”、“黑色笔记本”、“黑色笔记本”和“灰色记事本”)记录了Z. N. Gippius对20世纪初俄罗斯历史动荡事件的态度。作者在历史巨变的时代寻找关于个人自由和选择的新思想，主张新的灵性原则，使人能够承受时代的巨大动荡，实现真正的自由，并在上帝中找到作为和谐人格发展的保障者。该研究认为，作者通过对第一次世界大战和1917年2月革命、10月革命期间俄国命运的理解，寻找新的人文理想，解决了日记中提出的问题。她谴责革命的破坏性导致道德理想的丧失。与作者特别相关的是一种具体的、有效的和实用的人文主义的主张，它考虑到人类生活的道德成分，认可道德的生活方式，并将实际行动与对个人的关注作为最终目标相结合。在吉普斯看来，这种理想体现在俄罗斯知识分子身上，他们具有同情、同情、牺牲和神圣的人文能力，并具有抵御俄罗斯政治灾难的潜力。吉皮乌斯在《彼得堡日记》中的美学发现包括将各种联想链纳入自动纪实文学的形式，用普遍的符号丰富特定的历史形象，以及抒情自我表达和史诗世界观的综合。
{"title":"Humanistic tendencies in the artistic and aesthetic system of Z. N. Gippius in her Petersburg Diaries of 1914–1919","authors":"L. M. Shumskaya, E. I. Biliutenka, Iryna K. Komarova","doi":"10.17223/18137083/83/9","DOIUrl":"https://doi.org/10.17223/18137083/83/9","url":null,"abstract":"The Petersburg diaries (“Blue Book,”, “Black Notebooks,” “Black Book,” and “Gray Notepad”) document the attitude of Z. N. Gippius to the events related to the historical upheavals in Russia in the early 20th century. Searching for new ideas about personal freedom and choice in the epoch of historical cataclysms, the writer asserts the principles of new spirituality allowing one withstand the great upheavals of the era and achieve true freedom, found in God as a guarantor of the harmonious personality development. This study has established that the writer solves the problems suggested in the diaries by comprehending the fate of Russia during the First World War and the February and October revolutions of 1917 and searching for new humanistic ideals. She condemns the destructive nature of the revolution that causes the loss of moral ideals. Of particular relevance to the writer is the assertion of a specific, effective and practical humanism that takes into account the moral component of human life, approves the moral way of life, and combines practical actions with a focus on the individual as the ultimate goal. For Gippius, the ideal is embodied in the Russian intelligentsia with humanistic ability to sympathy, compassion, sacrifice, and sanctity and potential to withstand the political cataclysms of Russia. The aesthetic findings of Gippius in her Petersburg diaries embrace the inclusion of various associative chains into the forms of auto-documentary literature, enrichment of particular historical images with universal symbols, and synthesis of lyrical self-expression and an epic worldview.","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":"67578370","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 explores the assessment of Alexey Remizov’s works of the 1910s by a journalist and critic, Praskovya Semenovna Vorobieva-Vladimirova. Some analytical articles about the writer’s work published on the pages of the Ekaterinodar newspaper “The Kuban Courier” have been identified and analyzed. The specifics of the perception of Remizov’s artistic heritage in the context of the editorial policy of this newspaper is considered in brief reports, notes, and review articles devoted to the latest works of Russian literature. The paper also describes the approaches and interests of the correspondents of “The Kuban Courier” in covering the features of the modern literary process. Attention is also paid to the professional interests of Vorobieva-Vladimirova as a leading collaborator, observer, and critic of Central Russia magazines. The analysis of a collection of letters for the first time introduced into scholarly circulation revealed the specifics of early personal and creative contacts between Vorobieva-Vladimirova and Remizov. A significant part of the letters reveals the interest in the literary personality and legacy of Remizov. Also, they unveil the attempts of a provincial correspondent already recognized in professional circles and known among readers in southern Russia to enter the St. Petersburg world of the daily press and establish creative contacts with writers. Such cooperation between a writer and a critic based on meaningful epistolary dialogue is a rare example in the history of literary relations.
{"title":"Praskovya Semenovna Vorobieva-Vladimirova – Ekaterinodar journalist and critic of A. M. Remizov","authors":"E. Vakhnenko","doi":"10.17223/18137083/83/12","DOIUrl":"https://doi.org/10.17223/18137083/83/12","url":null,"abstract":"The paper explores the assessment of Alexey Remizov’s works of the 1910s by a journalist and critic, Praskovya Semenovna Vorobieva-Vladimirova. Some analytical articles about the writer’s work published on the pages of the Ekaterinodar newspaper “The Kuban Courier” have been identified and analyzed. The specifics of the perception of Remizov’s artistic heritage in the context of the editorial policy of this newspaper is considered in brief reports, notes, and review articles devoted to the latest works of Russian literature. The paper also describes the approaches and interests of the correspondents of “The Kuban Courier” in covering the features of the modern literary process. Attention is also paid to the professional interests of Vorobieva-Vladimirova as a leading collaborator, observer, and critic of Central Russia magazines. The analysis of a collection of letters for the first time introduced into scholarly circulation revealed the specifics of early personal and creative contacts between Vorobieva-Vladimirova and Remizov. A significant part of the letters reveals the interest in the literary personality and legacy of Remizov. Also, they unveil the attempts of a provincial correspondent already recognized in professional circles and known among readers in southern Russia to enter the St. Petersburg world of the daily press and establish creative contacts with writers. Such cooperation between a writer and a critic based on meaningful epistolary dialogue is a rare example in the history of literary relations.","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":"67578672","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 modern enclave tradition of Chinese Tuvans, a layer of oral stories dedicated to Amyr-San has been revealed. The narratives on this topic are still alive in the memory of young and elderly people, showing the continuity of folklore and the stability of historical memory. The collected materials of recent years indicate that compared to the maternal field, the image of Amyr-Sana among Chinese Tuvans is represented by various variants, showing his folklore image to be rather contradictory. On the one hand, the image of Amyr-Sana in the folklore of Chinese Tuvans embodies faith in freedom and independence. He is regarded as an epic hero, a Tuvinian, a founder of archery competition Tuvans. On the other hand, Amyr-Sana can be negatively characterized as a cowardly person, a khan who was defeated and wanted to become the ruler of the Tuvans. One of the specific features in the plot situation: “Amyr-Sana wants to become the ruler of Tuvans” has been found to be the obligatory presence of a poetic triplet/couplet conveying the essence of the main theme. It has been revealed that the departure and return of Amyr-Sana feature two stable motives expressing the idea of Amyr-Sana’s return to his native lands in a difficult time for the people. The fieldwork allowed us to establish that numerous respondents nowadays believe and wait for the return of Amyr-Sana, a striking indicator of the preservation of historical memory.
{"title":"The image of Amyr-Sana in the enclave tradition of Tuvans of China according to modern records","authors":"Z. M. Yusha","doi":"10.17223/18137083/83/3","DOIUrl":"https://doi.org/10.17223/18137083/83/3","url":null,"abstract":"In the modern enclave tradition of Chinese Tuvans, a layer of oral stories dedicated to Amyr-San has been revealed. The narratives on this topic are still alive in the memory of young and elderly people, showing the continuity of folklore and the stability of historical memory. The collected materials of recent years indicate that compared to the maternal field, the image of Amyr-Sana among Chinese Tuvans is represented by various variants, showing his folklore image to be rather contradictory. On the one hand, the image of Amyr-Sana in the folklore of Chinese Tuvans embodies faith in freedom and independence. He is regarded as an epic hero, a Tuvinian, a founder of archery competition Tuvans. On the other hand, Amyr-Sana can be negatively characterized as a cowardly person, a khan who was defeated and wanted to become the ruler of the Tuvans. One of the specific features in the plot situation: “Amyr-Sana wants to become the ruler of Tuvans” has been found to be the obligatory presence of a poetic triplet/couplet conveying the essence of the main theme. It has been revealed that the departure and return of Amyr-Sana feature two stable motives expressing the idea of Amyr-Sana’s return to his native lands in a difficult time for the people. The fieldwork allowed us to establish that numerous respondents nowadays believe and wait for the return of Amyr-Sana, a striking indicator of the preservation of historical memory.","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":"67578714","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 analyzes some principles of general phonetics regulating the classification of vowel sounds in world languages. Consideration is given to typologically and genetically different languages of the peoples of Siberia. Questioned is the validity of using the concepts of row and rise as the main parameters in determining articulatory types of vowels, with deviations of both articulatory and acoustic indicators from the generally accepted standards of qualify- ing vocal components of speech being not infrequent. The analysis of a large array of auditory and experimental data has revealed the vowel opposition to be based on contrast by the type of additional articulation: softness / leveling / hardness. The tongue placement in the oral cav- ity determines the effect of softening (palatalization), hardening (velarization), or leveling of the setting. An apparent symmetry of vocal types by palatalization and velarization is found: the same number of laryngeal-rounded and laryngeal-non-rounded sounds and a clear corre- spondence of the distances from the palatine arch. A specificity is that only the sounds [e, a, o] can have additional articulation below the 4th stage, while the sixth is [a, o]. It is probably due to the physiology of the human speech apparatus and the specific sound type that is formed not only by the vocal cords but also by the external muscles attached to the lar- ynx (that is why the vowels are called laryngeal-ligamentous), being slightly rotated during specific articulations of the vowel. Of no less importance is the hyoid bone, connected with the larynx and tongue and responsible for the movement accuracy of the latter.
本文分析了世界语言元音分类的一般语音学原理。考虑到西伯利亚各族人民在类型学和遗传上的不同语言。使用排和升的概念作为确定元音发音类型的主要参数的有效性受到质疑，因为发音和声学指标与普遍接受的限定语音组成部分的标准的偏差并不少见。对大量听觉和实验数据的分析表明，元音对立是基于额外发音类型的对比:柔软/平整/硬度。舌头在口腔中的位置决定了软化(腭化)、硬化(腭化)或调平的效果。通过腭化和腭化发现了明显的声音类型对称性:喉圆音和喉非圆音的数量相同，并且与腭弓的距离有明显的对应关系。一个特点是，只有[e, A, o]在第四阶段以下可以有额外的发音，而第六阶段是[A, o]。这可能是由于人类语言器官的生理机能和特定的声音类型，这种声音类型不仅是由声带形成的，而且是由附着在喉部的外部肌肉形成的(这就是为什么元音被称为喉韧带)，在特定的元音发音过程中会轻微旋转。舌骨同样重要，它与喉头和舌头相连，并负责后者的运动准确性。
{"title":"The position of the tongue in the oral cavity as an additional articulation of vowels","authors":"N. Urtegeshev","doi":"10.17223/18137083/82/17","DOIUrl":"https://doi.org/10.17223/18137083/82/17","url":null,"abstract":"The paper analyzes some principles of general phonetics regulating the classification of vowel sounds in world languages. Consideration is given to typologically and genetically different languages of the peoples of Siberia. Questioned is the validity of using the concepts of row and rise as the main parameters in determining articulatory types of vowels, with deviations of both articulatory and acoustic indicators from the generally accepted standards of qualify- ing vocal components of speech being not infrequent. The analysis of a large array of auditory and experimental data has revealed the vowel opposition to be based on contrast by the type of additional articulation: softness / leveling / hardness. The tongue placement in the oral cav- ity determines the effect of softening (palatalization), hardening (velarization), or leveling of the setting. An apparent symmetry of vocal types by palatalization and velarization is found: the same number of laryngeal-rounded and laryngeal-non-rounded sounds and a clear corre- spondence of the distances from the palatine arch. A specificity is that only the sounds [e, a, o] can have additional articulation below the 4th stage, while the sixth is [a, o]. It is probably due to the physiology of the human speech apparatus and the specific sound type that is formed not only by the vocal cords but also by the external muscles attached to the lar- ynx (that is why the vowels are called laryngeal-ligamentous), being slightly rotated during specific articulations of the vowel. Of no less importance is the hyoid bone, connected with the larynx and tongue and responsible for the movement accuracy of the latter.","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":"67577793","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 addresses the problem of Ivan Turgenev’s perception of the literary work of Nathaniel Hawthorne. For the Russian writer, the turn of the 1840s and the 1850s was a time of crisis of artistic manner. During a period of intense creative reflection, the writer came across Hawthorne’s novel “The Scarlet Letter” with its blend of romantic and realistic traits of the characters. It was the London edition (1852), its pages still bearing nail and pencil marks revealing a sensitive perception and understanding of the romantic world of puritan Boston and the ways of its artistic recreation. The Russian writer discovers the image of Esther and the pictures of nature intended to reveal her character. In addition, Turgenev acquires the author’s complex allegory embracing the images of Pearl and the letter “A.” The marks on the pages of The Scarlet Letter trace a creative perception of the novel manifested when Turgenev worked on “Rudin” (1856). The pages of Turgenev’s first novel provide a picture of Russian reality, with important questions about the social and spiritual life of society being addressed. This prioritization reflects the impact of “The Scarlet Letter”. “Rudin” echoes Hawthorne’s novel, both in the general framing of the moral and philosophical issues and the specificity of the main characters.
{"title":"“The Scarlet Letter” by Nathaniel Hawthorne in the creative mind of Ivan Turgenev: from reading to explication","authors":"Ivan O. Volkov","doi":"10.17223/18137083/82/7","DOIUrl":"https://doi.org/10.17223/18137083/82/7","url":null,"abstract":"The paper addresses the problem of Ivan Turgenev’s perception of the literary work of Nathaniel Hawthorne. For the Russian writer, the turn of the 1840s and the 1850s was a time of crisis of artistic manner. During a period of intense creative reflection, the writer came across Hawthorne’s novel “The Scarlet Letter” with its blend of romantic and realistic traits of the characters. It was the London edition (1852), its pages still bearing nail and pencil marks revealing a sensitive perception and understanding of the romantic world of puritan Boston and the ways of its artistic recreation. The Russian writer discovers the image of Esther and the pictures of nature intended to reveal her character. In addition, Turgenev acquires the author’s complex allegory embracing the images of Pearl and the letter “A.” The marks on the pages of The Scarlet Letter trace a creative perception of the novel manifested when Turgenev worked on “Rudin” (1856). The pages of Turgenev’s first novel provide a picture of Russian reality, with important questions about the social and spiritual life of society being addressed. This prioritization reflects the impact of “The Scarlet Letter”. “Rudin” echoes Hawthorne’s novel, both in the general framing of the moral and philosophical issues and the specificity of the main characters.","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":"67578170","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}
Russian etymological lexicography has or is likely to have works that tend to have a thesaurus form (like the Russian Etymological Dictionary), and those of a less global nature. However, such works can be structured as follows: a basic reference book of the Russian vocabulary and etymological dictionaries devoted to particular strata of the Russian vocabulary. It is obvious that there is a need for a new dictionary of Turkisms / Orientalisms. Such a work could contain information not only about the etymons of Russian (Old Russian) words but also the details of the borrowing and adaptation of Turkisms (Mongolisms, Iranianisms, and others), their diffusion paths, possible intermediary languages, et cetera. This paper presents some material suitable for a dictionary of Turkisms / Orientalisms, with only Oriental / Turkic etymologies of Russian words provided, taken mainly from the dialect of the Cossacks on the Ural (Yaik) River. The material is presented alphabetically, as dictionary entries, with the sign “//” separating the part being explained (presenting the Russian lexical material) and the explanatory part (presenting the etymological information). For Russian words, if possible, the year or century of the earliest fixation in the literature (monuments of writing) is indicated. The paper analyzes the following examples: dzhablúk, dzhavlúk ‘Kazakh large scarf, women’s headband’ from Kazakh zhaulyk ‘women’s headscarf’; dzhantak ‘camel grass or camel’s tail or camel’s thorn’ from Kazakh zhantak = turkic jandaq, jantaq ‘thorny plant’; dzhusán ‘wormwood’, zhusán, dzhusán ‘small bitter wormwood, used to feed livestock’ from Kazakh zhusan ‘wormwood’.
{"title":"From the history of words V. Turkisms in Russian dialects","authors":"Alexander E. Anikin","doi":"10.17223/18137083/82/18","DOIUrl":"https://doi.org/10.17223/18137083/82/18","url":null,"abstract":"Russian etymological lexicography has or is likely to have works that tend to have a thesaurus form (like the Russian Etymological Dictionary), and those of a less global nature. However, such works can be structured as follows: a basic reference book of the Russian vocabulary and etymological dictionaries devoted to particular strata of the Russian vocabulary. It is obvious that there is a need for a new dictionary of Turkisms / Orientalisms. Such a work could contain information not only about the etymons of Russian (Old Russian) words but also the details of the borrowing and adaptation of Turkisms (Mongolisms, Iranianisms, and others), their diffusion paths, possible intermediary languages, et cetera. This paper presents some material suitable for a dictionary of Turkisms / Orientalisms, with only Oriental / Turkic etymologies of Russian words provided, taken mainly from the dialect of the Cossacks on the Ural (Yaik) River. The material is presented alphabetically, as dictionary entries, with the sign “//” separating the part being explained (presenting the Russian lexical material) and the explanatory part (presenting the etymological information). For Russian words, if possible, the year or century of the earliest fixation in the literature (monuments of writing) is indicated. The paper analyzes the following examples: dzhablúk, dzhavlúk ‘Kazakh large scarf, women’s headband’ from Kazakh zhaulyk ‘women’s headscarf’; dzhantak ‘camel grass or camel’s tail or camel’s thorn’ from Kazakh zhantak = turkic jandaq, jantaq ‘thorny plant’; dzhusán ‘wormwood’, zhusán, dzhusán ‘small bitter wormwood, used to feed livestock’ from Kazakh zhusan ‘wormwood’.","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":"67577835","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 “yurt” artifact is a part of the Kyrgyz and Tuvan peoples’ systems of cultural values. As a cognitive mechanism, language offers its own linguistic and creative interpretation. This paper considers the artifact “Yurt” in terms of cognitive linguistics by analyzing the concepts of boz üy and ѳg. The linguistic and cultural analysis of these concepts made it possible to re- veal the specificity of their ethnolinguistic perception that discovers the role, place, and sig- nificance of “yurt” in the linguistic worldview of the Kyrgyz and the Tuvan peoples. Com- mon cultural and linguistic roots of the Kyrgyz and Tuvan people and their long-term coexistence in the historical arena have predetermined the significance of parallels and corre- spondences in the cognitive-semantic scope of the concepts boz üy and ѳg. The cognitive and conceptual core of these concepts’ structure reveals the elements of the cognitive comprehen- sion of “yurt” associated with its spatial segmentation, specification of its fragments, and the functionality of its attributes. The figurative-symbolic level of the concepts demonstrates the results of the sensory-associative perception of the yurt. In the Tuvan language, it is the sym- bolization of space, and in the Kyrgyz language, it is the symbolization of objects. The value- cultural level of the concepts under consideration explicates the thesis that “yurt” is the focus of cultural traditions, rituals, and customs for Tuvan and Kyrgyz peoples that have lasted since time immemorial.
{"title":"The artifact “yurt” as an object of Kyrgyz and Tuvan linguoculture","authors":"Zamira Derbisheva","doi":"10.17223/18137083/82/19","DOIUrl":"https://doi.org/10.17223/18137083/82/19","url":null,"abstract":"The “yurt” artifact is a part of the Kyrgyz and Tuvan peoples’ systems of cultural values. As a cognitive mechanism, language offers its own linguistic and creative interpretation. This paper considers the artifact “Yurt” in terms of cognitive linguistics by analyzing the concepts of boz üy and ѳg. The linguistic and cultural analysis of these concepts made it possible to re- veal the specificity of their ethnolinguistic perception that discovers the role, place, and sig- nificance of “yurt” in the linguistic worldview of the Kyrgyz and the Tuvan peoples. Com- mon cultural and linguistic roots of the Kyrgyz and Tuvan people and their long-term coexistence in the historical arena have predetermined the significance of parallels and corre- spondences in the cognitive-semantic scope of the concepts boz üy and ѳg. The cognitive and conceptual core of these concepts’ structure reveals the elements of the cognitive comprehen- sion of “yurt” associated with its spatial segmentation, specification of its fragments, and the functionality of its attributes. The figurative-symbolic level of the concepts demonstrates the results of the sensory-associative perception of the yurt. In the Tuvan language, it is the sym- bolization of space, and in the Kyrgyz language, it is the symbolization of objects. The value- cultural level of the concepts under consideration explicates the thesis that “yurt” is the focus of cultural traditions, rituals, and customs for Tuvan and Kyrgyz peoples that have lasted since time immemorial.","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":"67577848","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 defines the influence of time and space categories on the artistic paradigm of G. D. Grebenshchikov. The writer’s spiritual philosophy is, to a certain extent, based on the teaching of Living Ethics, which is explained by both philosophical and biographical reasons: Grebenshchikov’s acquaintance with the Roerichs, his move to the USA, and foundation of the “Alatas” publishing house as part of the “Roerich Museum” in New York. “My Siberia” is an illustrative representation of how the philosophy of Living Ethics is incorporated into Grebenshchikov’s works, both in Russian and in English, primarily at the level of the spatio- temporal organization of the text. The concept of time and space united by unique relations mutually flowing into each other is one of the key concepts for the philosophy of Living Eth- ics. Being largely inspired by the philosophy of Tibetan Buddhism, Living Ethics has ac- quired a particular coloring, becoming one of the cornerstones of Russian cosmism. Enlight- ened by this philosophy, G. D. Grebenshikov demonstrated the chronotopic organization of Living Ethics in a number of his works, including the collection “My Siberia.” The writer used nation-building motifs, messianic intentions, and actualization of the motif of insepara- bility between large and small, the past and the future. The author constructs a syncretic im- age of Siberia, with historical time and space not only neighboring with mythological but also existing in an inseparable connection.
{"title":"Categories of time and space in the work of G. D. Grebenshchikov “Moya Sibir’” and its author’s translation into English “My Siberia”","authors":"E. V. Yarkova","doi":"10.17223/18137083/82/11","DOIUrl":"https://doi.org/10.17223/18137083/82/11","url":null,"abstract":"This paper defines the influence of time and space categories on the artistic paradigm of G. D. Grebenshchikov. The writer’s spiritual philosophy is, to a certain extent, based on the teaching of Living Ethics, which is explained by both philosophical and biographical reasons: Grebenshchikov’s acquaintance with the Roerichs, his move to the USA, and foundation of the “Alatas” publishing house as part of the “Roerich Museum” in New York. “My Siberia” is an illustrative representation of how the philosophy of Living Ethics is incorporated into Grebenshchikov’s works, both in Russian and in English, primarily at the level of the spatio- temporal organization of the text. The concept of time and space united by unique relations mutually flowing into each other is one of the key concepts for the philosophy of Living Eth- ics. Being largely inspired by the philosophy of Tibetan Buddhism, Living Ethics has ac- quired a particular coloring, becoming one of the cornerstones of Russian cosmism. Enlight- ened by this philosophy, G. D. Grebenshikov demonstrated the chronotopic organization of Living Ethics in a number of his works, including the collection “My Siberia.” The writer used nation-building motifs, messianic intentions, and actualization of the motif of insepara- bility between large and small, the past and the future. The author constructs a syncretic im- age of Siberia, with historical time and space not only neighboring with mythological but also existing in an inseparable connection.","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":"67577868","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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