The present work is devoted to the history of several Russian words predominantly used in the literary language and to some dialectisms. The lexicological etudes proposed appeared in the process of preparing the 17th issue of the Russian Etymological Dictionary. The paper contributes to a thorough study of the lexical material concerned and reveals the specificity of the vocabulary discussed on several examples. The following words are considered: zabélka (dial.) “the best person”; zazhór and zazhóra (dial.) “accumulation of ice in during the ice drift”; zakadychnyy “close, sincere (of a friend)”; zamáshka, zamáshki “hemp yarn and canvas”; zasedat’ “to discuss, decide”; záspa (dial.) “barley or oat groats”; zatín 1 “a place hidden behind a fence”; zatín 2 (dial.) “an iron crowbar stuck into an ice-floe”; zatín 3 (dial.) “a weakness of a horse.”
{"title":"From the history of words III","authors":"Alexander E. Anikin","doi":"10.17223/18137083/81/17","DOIUrl":"https://doi.org/10.17223/18137083/81/17","url":null,"abstract":"The present work is devoted to the history of several Russian words predominantly used in the literary language and to some dialectisms. The lexicological etudes proposed appeared in the process of preparing the 17th issue of the Russian Etymological Dictionary. The paper contributes to a thorough study of the lexical material concerned and reveals the specificity of the vocabulary discussed on several examples. The following words are considered: zabélka (dial.) “the best person”; zazhór and zazhóra (dial.) “accumulation of ice in during the ice drift”; zakadychnyy “close, sincere (of a friend)”; zamáshka, zamáshki “hemp yarn and canvas”; zasedat’ “to discuss, decide”; záspa (dial.) “barley or oat groats”; zatín 1 “a place hidden behind a fence”; zatín 2 (dial.) “an iron crowbar stuck into an ice-floe”; zatín 3 (dial.) “a weakness of a horse.”","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577507","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 discusses the folk names of guelder rose (Viburnum) in the Finno-Ugric languages, with more than a hundred phytonyms having been studied to reveal their origin, areal distribution, and the lexical nomination of Viburnum according to various features. Among the phytonyms studied, the Baltic-Finnish vocabulary noticeably prevails, probably due to the fact that the dialectal lexical material of Baltic-Finnish languages has been much better collected. The entire study was done from a comparative perspective. The majority of the Finno-Ugric names of guelder rose originated in separate languages and has no correspondences in the related tongues. Not more than two phytonyms belong to the ancient lexical fund. Moreover, in the languages under consideration, there are several names of guelder rose that were borrowed from Germanic, Turkic, and Slavic languages. The compound phytonyms formed in individual languages are numerous and rather diverse. The multiplicity of names given to guelder rose is more characteristic of herbaceous plants, with trees usually having far fewer names with more ancient origin. The Finno-Ugric names of guelder rose are based on a number of features, such as medicinal use, flower coloring, place of growth, and external similarity to other plants. The study has identified the lexical-semantic models by which the compound names of guelder rose were formed, with their components analyzed. Thus, each phytonym may contain two or three components. The names of guelder rose also include zoosemisms denoting various animals: a dog, a wolf, a pig, a partridge, and a crane.
{"title":"Names of guelder rose (Viburnum) in Finno-Ugric Languages","authors":"Igor Brodsky","doi":"10.17223/18137083/80/20","DOIUrl":"https://doi.org/10.17223/18137083/80/20","url":null,"abstract":"The paper discusses the folk names of guelder rose (Viburnum) in the Finno-Ugric languages, with more than a hundred phytonyms having been studied to reveal their origin, areal distribution, and the lexical nomination of Viburnum according to various features. Among the phytonyms studied, the Baltic-Finnish vocabulary noticeably prevails, probably due to the fact that the dialectal lexical material of Baltic-Finnish languages has been much better collected. The entire study was done from a comparative perspective. The majority of the Finno-Ugric names of guelder rose originated in separate languages and has no correspondences in the related tongues. Not more than two phytonyms belong to the ancient lexical fund. Moreover, in the languages under consideration, there are several names of guelder rose that were borrowed from Germanic, Turkic, and Slavic languages. The compound phytonyms formed in individual languages are numerous and rather diverse. The multiplicity of names given to guelder rose is more characteristic of herbaceous plants, with trees usually having far fewer names with more ancient origin. The Finno-Ugric names of guelder rose are based on a number of features, such as medicinal use, flower coloring, place of growth, and external similarity to other plants. The study has identified the lexical-semantic models by which the compound names of guelder rose were formed, with their components analyzed. Thus, each phytonym may contain two or three components. The names of guelder rose also include zoosemisms denoting various animals: a dog, a wolf, a pig, a partridge, and a crane.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577611","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 is dedicated to identifying the origins of the artistic synthesis and aesthetics of the art of Ivan Goncharov. Of particular importance in the formation of Goncharov as a writer was Nikolai Nadezhdin. From Nadezhdin, Goncharov inherited an important philosophical category of synthesis. Underlying Nadezhdin’s aesthetic conceptions was the theory of synthesis of the classical and the romantic as the basis of contemporary art. His artistic theory was organically perceived by Goncharov. He understood the development of a literary process as a combination of two extremes: classical and romantic. Goncharov’s understanding of “synthesis” is distinguidhes by the reference to artistry and movement towards the poetization of reality. Depiction is associated with the aesthetics of the writer and the epic understanding of reality. The idea of synthesis was embodied in the character of Goncharov’s formulation of the problem of painting and of the pictorial principle. The aesthetic form of the embodiment of synthesis in the Frigate “Pallada” is represented by numerous “paintings,” “views,” “drawings,” etc., expressing the idea of the artistry of Ivan Goncharov. In Goncharov’s work, depiction appears as a stable system. It is manifested in the image plasticity, dynamic interaction of forms, volumes, color elements, the play of light and shadow, flexibility of lines, various spatial organization, and detailing of the depicted objects, dynamic and static. Goncharov’s depiction is considered a philosophical way of depicting man and reality.
{"title":"Philosophy of synthesis and aesthetics of painting of Ivan Goncharov in his book of travelogues Frigate “Pallada”","authors":"Kristina K. Pavlovich","doi":"10.17223/18137083/81/7","DOIUrl":"https://doi.org/10.17223/18137083/81/7","url":null,"abstract":"This paper is dedicated to identifying the origins of the artistic synthesis and aesthetics of the art of Ivan Goncharov. Of particular importance in the formation of Goncharov as a writer was Nikolai Nadezhdin. From Nadezhdin, Goncharov inherited an important philosophical category of synthesis. Underlying Nadezhdin’s aesthetic conceptions was the theory of synthesis of the classical and the romantic as the basis of contemporary art. His artistic theory was organically perceived by Goncharov. He understood the development of a literary process as a combination of two extremes: classical and romantic. Goncharov’s understanding of “synthesis” is distinguidhes by the reference to artistry and movement towards the poetization of reality. Depiction is associated with the aesthetics of the writer and the epic understanding of reality. The idea of synthesis was embodied in the character of Goncharov’s formulation of the problem of painting and of the pictorial principle. The aesthetic form of the embodiment of synthesis in the Frigate “Pallada” is represented by numerous “paintings,” “views,” “drawings,” etc., expressing the idea of the artistry of Ivan Goncharov. In Goncharov’s work, depiction appears as a stable system. It is manifested in the image plasticity, dynamic interaction of forms, volumes, color elements, the play of light and shadow, flexibility of lines, various spatial organization, and detailing of the depicted objects, dynamic and static. Goncharov’s depiction is considered a philosophical way of depicting man and reality.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577742","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 is devoted to the discourse of multilingual online communities, with the Belarusian language and mixed Belarusian-Russian speech (trasianka) used to create humorous situations. The problem of involvement of different Belarusian language idioms on the Internet is discussed. In addition, the code preferences and code-switching in the publications and comments of the participants of the communities are analyzed, and the interrelation between code and genre-discursive characteristics of messages is identified. Messages that form the humorous culture of the online communities concerned are classified into two types based on the writer’s intention: informative and phatic. Phatic messages create a playful emotional back-ground, provide integration of the community members, and are an effective way to maintain intragroup solidarity relying on a shared sense of humor. Members of the online community publish informative messages to ironically interpret, ridicule, and negatively assess events in the life of Belarusian society. It has been established that informative and phatic types of messages in a discourse of “humorous” online communities are marked through different language codes. When creating phatic messages in the online community, users prefer the Belarusian literary language. Informative messages are formed by means of a network version of the mixed Belarusian-Russian speech with intentionally distorted language code, demonstrative marginalization of a speech stream, a LOL trasianka. Such language coding provides the members of online communities with a scenario signal and allows them to prevent the conflicts that could result from disagreement with the proposed humorous situation development strategy.
{"title":"Code switching in a humorous discourse of a multilingual network community","authors":"Inna I. Minchuk, Tamara Pivavarchyk","doi":"10.17223/18137083/81/25","DOIUrl":"https://doi.org/10.17223/18137083/81/25","url":null,"abstract":"The paper is devoted to the discourse of multilingual online communities, with the Belarusian language and mixed Belarusian-Russian speech (trasianka) used to create humorous situations. The problem of involvement of different Belarusian language idioms on the Internet is discussed. In addition, the code preferences and code-switching in the publications and comments of the participants of the communities are analyzed, and the interrelation between code and genre-discursive characteristics of messages is identified. Messages that form the humorous culture of the online communities concerned are classified into two types based on the writer’s intention: informative and phatic. Phatic messages create a playful emotional back-ground, provide integration of the community members, and are an effective way to maintain intragroup solidarity relying on a shared sense of humor. Members of the online community publish informative messages to ironically interpret, ridicule, and negatively assess events in the life of Belarusian society. It has been established that informative and phatic types of messages in a discourse of “humorous” online communities are marked through different language codes. When creating phatic messages in the online community, users prefer the Belarusian literary language. Informative messages are formed by means of a network version of the mixed Belarusian-Russian speech with intentionally distorted language code, demonstrative marginalization of a speech stream, a LOL trasianka. Such language coding provides the members of online communities with a scenario signal and allows them to prevent the conflicts that could result from disagreement with the proposed humorous situation development strategy.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"99 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577909","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}
A distinctive feature of the spelling of the contemporary Russian Church Slavonic is the so-called antistih (anti-verse) principle, that is a total, in as much as possible, elimination of grammatical homonymy, with a well-known arsenal of graphic and orthographic tools used: duplicates є, ѡ, ы and ѧ, diacritical marks apostrof (ἀπόστροφος) and kamora (circumflexus). Having considered various recommendations found in educational and scientific literature, and comparing them with the data of texts, the author came to the following conclusions. First, the system of orthographic principles of the Church Slavonic language has a hierarchical organization. Second, the principle of antistih (i.e. differentiating) occupies a dominant position in this hierarchy. Third, antistih has its own internal hierarchy. Fourth, the leading role in this internal hierarchy belongs to the opposition (distinction) of numeric homoforms. Fifth, the use of specific tools is subject to strict laws. The author offers a formulation of spelling rules for dissimilarizing singular and non-singular homophormes, taking into account the system-wide relations of spelling principles, the internal hierarchy of antistich, and the hierarchy of graphic and orthographic tools. The presence of such rules, i.e. an explicitly articulated algorithm, may not only contribute to the standardization of the language but also is valuable in terms of solving concrete practical tasks: methodical (presentation of material: from the teacher to the student), mnemonic (learning of material: from the student to the system of language), normalization per se (orientation in arsenal of linguistic tools: from the originator of the text to the linguistic norm).
{"title":"Differentiation of homoforms of singular and non-singular declinable parts of speech in Church Slavic language: towards the formulation of a general rule","authors":"Alexander D. Bolshakov","doi":"10.17223/18137083/78/18","DOIUrl":"https://doi.org/10.17223/18137083/78/18","url":null,"abstract":"A distinctive feature of the spelling of the contemporary Russian Church Slavonic is the so-called antistih (anti-verse) principle, that is a total, in as much as possible, elimination of grammatical homonymy, with a well-known arsenal of graphic and orthographic tools used: duplicates є, ѡ, ы and ѧ, diacritical marks apostrof (ἀπόστροφος) and kamora (circumflexus). Having considered various recommendations found in educational and scientific literature, and comparing them with the data of texts, the author came to the following conclusions. First, the system of orthographic principles of the Church Slavonic language has a hierarchical organization. Second, the principle of antistih (i.e. differentiating) occupies a dominant position in this hierarchy. Third, antistih has its own internal hierarchy. Fourth, the leading role in this internal hierarchy belongs to the opposition (distinction) of numeric homoforms. Fifth, the use of specific tools is subject to strict laws. The author offers a formulation of spelling rules for dissimilarizing singular and non-singular homophormes, taking into account the system-wide relations of spelling principles, the internal hierarchy of antistich, and the hierarchy of graphic and orthographic tools. The presence of such rules, i.e. an explicitly articulated algorithm, may not only contribute to the standardization of the language but also is valuable in terms of solving concrete practical tasks: methodical (presentation of material: from the teacher to the student), mnemonic (learning of material: from the student to the system of language), normalization per se (orientation in arsenal of linguistic tools: from the originator of the text to the linguistic norm).","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67576176","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 presents the results of the author’s typological study of the tunes of the ritual songs of Maslenitsa of Belarusian settlers of Siberia and the Far East. The study material includes archival and published recordings of songs of Maslenitsa made in the main regions of the settlement of Belarusians (Novosibirsk, Kemerovo, Omsk regions, Krasnoyarsk and Primorsky territories). The focus is on the most important aspect for calendar songs - the structural and rhythmic organization of tunes. The results of studying the song tunes of the resettlement tradition were found to correlate with the tunes of Maslenitsa songs of the metropolis presented in the classifications of Belarusian ethnomusicologists Z. Ya. Mozheiko and V. M. Pribylova. The analysis of the resettlement Belarusian tradition of Siberia and the Far East allowed identifying the groups of Maslenitsa songs correlating structurally with tunes identified by Belarusian researchers. It was revealed that despite there being a relatively small number of songs, the Siberian tradition features the tunes of type IV ves.-masl. (according to Z. Ya. Mozheiko; = IIb according to V. M. Pribylova), as well as tunes not only of the main types I, III, and IV according to classification of V. M. Pribylova, but also ones of their local varieties. In addition, a number of tunes of Siberian songs prove to have a non-typical structure.
本文介绍了作者对西伯利亚和远东的白俄罗斯移民马斯伦尼察仪式歌曲的曲调进行类型学研究的结果。研究材料包括在白俄罗斯人定居的主要地区(新西伯利亚、克麦罗沃、鄂木斯克州、克拉斯诺亚尔斯克和滨海边疆区)制作的马斯伦尼察歌曲的档案和出版唱片。重点是日历歌曲最重要的方面-曲调的结构和节奏组织。研究安置传统歌曲曲调的结果发现与白俄罗斯民族音乐学家Z. Ya分类中提出的大都市Maslenitsa歌曲曲调相关联。莫哲伊科和普里比洛娃。通过对白俄罗斯人在西伯利亚和远东重新定居的传统的分析，可以识别出与白俄罗斯研究人员识别出的曲调在结构上相关的Maslenitsa歌曲群。据透露，尽管有相对较少的歌曲，西伯利亚传统的特点是第IV类曲调。(据Z. Ya说。Mozheiko;= IIb(根据V. M. Pribylova))，以及根据V. M. Pribylova分类的主要类型I, III和IV的曲调，以及它们的地方变种。此外，许多西伯利亚歌曲的曲调被证明具有非典型结构。
{"title":"Songs of Maslenitsa in Belarusian traditions of Siberian existence: structural and rhythmic typology","authors":"T. V. Dayneko","doi":"10.17223/18137083/79/1","DOIUrl":"https://doi.org/10.17223/18137083/79/1","url":null,"abstract":"This paper presents the results of the author’s typological study of the tunes of the ritual songs of Maslenitsa of Belarusian settlers of Siberia and the Far East. The study material includes archival and published recordings of songs of Maslenitsa made in the main regions of the settlement of Belarusians (Novosibirsk, Kemerovo, Omsk regions, Krasnoyarsk and Primorsky territories). The focus is on the most important aspect for calendar songs - the structural and rhythmic organization of tunes. The results of studying the song tunes of the resettlement tradition were found to correlate with the tunes of Maslenitsa songs of the metropolis presented in the classifications of Belarusian ethnomusicologists Z. Ya. Mozheiko and V. M. Pribylova. The analysis of the resettlement Belarusian tradition of Siberia and the Far East allowed identifying the groups of Maslenitsa songs correlating structurally with tunes identified by Belarusian researchers. It was revealed that despite there being a relatively small number of songs, the Siberian tradition features the tunes of type IV ves.-masl. (according to Z. Ya. Mozheiko; = IIb according to V. M. Pribylova), as well as tunes not only of the main types I, III, and IV according to classification of V. M. Pribylova, but also ones of their local varieties. In addition, a number of tunes of Siberian songs prove to have a non-typical structure.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67576478","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 monograph under review is devoted to polypredicative causal constructions in English, their distribution and grammatical features, as well as to the constructional analysis of two causal expressions: just because (of) X doesn’t mean Y construction and because Х construction. Central to the work are the properties of causal constructions and reasoning constructions (cf. It is raining because the streets are wet), where the speaker concludes that it is raining from the premise contained in the subordinate clause. It turns out that causal and reasoning constructions in English differ in a number of aspects, such as the position of the clause, the possibility of nominalization, clefting, etc. Another important conclusion of the work is that while particularizers (especially, particularly) can focalize both causal and reasoning constructions, exclusives (just, only) can combine only with causal constructions. The typological parameters analyzed in the monograph can be used in studying different languages.
本专著主要研究英语中的多谓语因果结构及其分布和语法特征，以及两个因果表达的结构分析:just because (of) X doesn 't mean Y结构和because Х结构。这项工作的核心是因果结构和推理结构的特性(例如，它在下雨，因为街道是湿的)，说话者从从句中包含的前提中得出结论。结果表明，英语中的因果结构和推理结构在许多方面存在差异，如从句的位置、名词化的可能性、断续等。这项工作的另一个重要结论是，虽然特殊化词(特别是，特别)可以聚焦因果结构和推理结构，但排他词(just, only)只能与因果结构结合。本专著所分析的类型学参数可用于不同语言的研究。
{"title":"The book review: Masaru Kanetani. Causation and Reasoning Constructions. Amsterdam, Philadelphia: John Benjamins Publishing Company, 2019. xii + 196. (Constructional Approaches to Language, 25). ISBN 9789027202468","authors":"N. Zaika","doi":"10.17223/18137083/78/24","DOIUrl":"https://doi.org/10.17223/18137083/78/24","url":null,"abstract":"The monograph under review is devoted to polypredicative causal constructions in English, their distribution and grammatical features, as well as to the constructional analysis of two causal expressions: just because (of) X doesn’t mean Y construction and because Х construction. Central to the work are the properties of causal constructions and reasoning constructions (cf. It is raining because the streets are wet), where the speaker concludes that it is raining from the premise contained in the subordinate clause. It turns out that causal and reasoning constructions in English differ in a number of aspects, such as the position of the clause, the possibility of nominalization, clefting, etc. Another important conclusion of the work is that while particularizers (especially, particularly) can focalize both causal and reasoning constructions, exclusives (just, only) can combine only with causal constructions. The typological parameters analyzed in the monograph can be used in studying different languages.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67576712","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 vast majority of the Armenian words of Indo-European origin with ս (s) have the nasalized *ḱ as their prototype. By combining back-lingual prototypes (comp. *ḱ, *k, *g՛, *gh) from one side and all the sibilant prototypes (comp. *s, *(s)s, *z, *z / s, *(p)s, *s(p), *s(t), *s(kh)) from the other side, a 2 : 1 quantitative proportion can be established in favor of the posterior ones. The number of the words restored with nasalized voiceless back-lingual *ḱ is about 1.7 times higher than those restored with fricative voiceless sibilant *s. However, quantitative prevalence is not yet sufficient to consider Indo-European *ḱ the original prototype of the Armenian ս (s), thus the initial phoneme from which the Old Armenian sibilant ս (s) could have derived after the separation of Armenian from the common Indo-European language. There are two reasons preventing such a conclusion: 1) the prototype with *s is restored for numerous Armenian words in comparative Armenian studies; 2) the first and second nasalization of the Indo-European back-lingual, which also resulted in sibilant phonemes in Indo-European languages, all dating back to a later period. The twofold quantitative prevalence of the cases of transition of Indo-European *ḱ to Armenian ս (s) compared to the transition of *s > ս (s), is likely to have originated similarly to the transition from the nasalized back-lingual occlusives to fricatives and occlusive-fricatives. It was a common phenomenon not only in Armenian but also in almost all of the eastern (satəm) group languages.
{"title":"Diachronic and achronic characteristics of a dull sibilant ս (s) of Old Armenian language","authors":"Vardan Z. Petrosyan","doi":"10.17223/18137083/80/15","DOIUrl":"https://doi.org/10.17223/18137083/80/15","url":null,"abstract":"The vast majority of the Armenian words of Indo-European origin with ս (s) have the nasalized *ḱ as their prototype. By combining back-lingual prototypes (comp. *ḱ, *k, *g՛, *gh) from one side and all the sibilant prototypes (comp. *s, *(s)s, *z, *z / s, *(p)s, *s(p), *s(t), *s(kh)) from the other side, a 2 : 1 quantitative proportion can be established in favor of the posterior ones. The number of the words restored with nasalized voiceless back-lingual *ḱ is about 1.7 times higher than those restored with fricative voiceless sibilant *s. However, quantitative prevalence is not yet sufficient to consider Indo-European *ḱ the original prototype of the Armenian ս (s), thus the initial phoneme from which the Old Armenian sibilant ս (s) could have derived after the separation of Armenian from the common Indo-European language. There are two reasons preventing such a conclusion: 1) the prototype with *s is restored for numerous Armenian words in comparative Armenian studies; 2) the first and second nasalization of the Indo-European back-lingual, which also resulted in sibilant phonemes in Indo-European languages, all dating back to a later period. The twofold quantitative prevalence of the cases of transition of Indo-European *ḱ to Armenian ս (s) compared to the transition of *s > ս (s), is likely to have originated similarly to the transition from the nasalized back-lingual occlusives to fricatives and occlusive-fricatives. It was a common phenomenon not only in Armenian but also in almost all of the eastern (satəm) group languages.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67576769","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 is devoted to studying the images of 18th-century German composers Johann Sebastian Bach and Wolfgang Amadeus Mozart in the works of Boris Poplavsky, including diaries, articles, poems, and prose. It was found that the image of Bach was transformed, starting from the articles of the early 1930s to the final work “About substantiality of personality”. In early works, Bach is a symbol of Apollonian art, perfect and harmonious, but cold-blooded towards man. However, in the final work, the music of the German Baroque composer is a symbol of “Pan, who resurrected in Christ” and embodies harmony and integrity of the Universe. The image of Mozart shows other connotations. He is a Dionysian artist, understood in terms of sensuality, “playing on the low and sweet” nature of man. This nature principle of Mozart, which Poplavsky names “sweet melodiousness”, is considered necessary for the formation of the creator, his initiation. This is related to Boris Poplavsky’s conception of the spirit of music, according to which an artist must die and sacrifice himself to the sacred spirit of music. For this reason, Mozart in Poplavsky’s conception of music has a mortal origin. In prose (novel “Apollon Bezobrazov”) and poems, the motive of Mozart’s “Requiem” arises, connected with apocalyptical themes and harmony of the world. This paper compares Poplavsky’s views and works with the concepts of his modernist predecessors and proves that the poet created original myths about musicians based on the traditions of modernity but acquiring uniqueness due to aesthetic principles.
{"title":"Johann Sebastian Bach and Wolfgang Amadeus Mozart in the works of Boris Poplavsky","authors":"G. Mamatov","doi":"10.17223/18137083/80/10","DOIUrl":"https://doi.org/10.17223/18137083/80/10","url":null,"abstract":"The paper is devoted to studying the images of 18th-century German composers Johann Sebastian Bach and Wolfgang Amadeus Mozart in the works of Boris Poplavsky, including diaries, articles, poems, and prose. It was found that the image of Bach was transformed, starting from the articles of the early 1930s to the final work “About substantiality of personality”. In early works, Bach is a symbol of Apollonian art, perfect and harmonious, but cold-blooded towards man. However, in the final work, the music of the German Baroque composer is a symbol of “Pan, who resurrected in Christ” and embodies harmony and integrity of the Universe. The image of Mozart shows other connotations. He is a Dionysian artist, understood in terms of sensuality, “playing on the low and sweet” nature of man. This nature principle of Mozart, which Poplavsky names “sweet melodiousness”, is considered necessary for the formation of the creator, his initiation. This is related to Boris Poplavsky’s conception of the spirit of music, according to which an artist must die and sacrifice himself to the sacred spirit of music. For this reason, Mozart in Poplavsky’s conception of music has a mortal origin. In prose (novel “Apollon Bezobrazov”) and poems, the motive of Mozart’s “Requiem” arises, connected with apocalyptical themes and harmony of the world. This paper compares Poplavsky’s views and works with the concepts of his modernist predecessors and proves that the poet created original myths about musicians based on the traditions of modernity but acquiring uniqueness due to aesthetic principles.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577002","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 describes the main milestones of expedition and research activities of N. F. Katanov (1862-1922) and his contribution to the collection and study of folklore material. With most of N. F. Katanov’s scientific works and field materials still unpublished, this work aims to attract the attention of researchers to the material of the outstanding scholar. A more extensive study and publication of N. F. Katanov’s works will contribute to the preservation of the unique folklore tradition of the Turkic-speaking peoples of Southern Siberia and expand the range of research based on the scientist's folklore materials. Ritual poetry reflecting religious and mythological ideas of the people is the least studied genre of the Khakass folklore. The paper analyzes the texts of the late 19th century, recorded by N. F. Katanov (1878-1892) and published in the “Samples of folk literature of the Turkic tribes”. The Khakass ritual poetry is considered as a part of the folklore heritage collection of the first Khakass scholar. N. F. Katanov collected a wealth of material on ritual poetry from the Kachin, Kyzyl, Sagai, and Shors. Of great value are records of ceremonial folklore with full ethnographic descriptions of rituals, attributes used in rituals, actions performed by shamans, and their incantations addressed to deities and spirits-masters of localities. The scholar was especially interested in a rite as a complex interaction of word and action, ritual and verbal text. Also, N. F. Katanov recorded and left to descendants a rich fund of records of shamanic folklore.
本文叙述了卡塔诺夫(1862-1922)考察和研究活动的主要里程碑，以及他对民俗学资料的收集和研究的贡献。由于N. F. Katanov的大部分科学著作和野外资料尚未发表，本书旨在吸引研究人员对这位杰出学者的资料的注意。更广泛地研究和出版N. F. Katanov的作品，将有助于保存南西伯利亚突厥语民族独特的民间传说传统，并扩大以这位科学家的民间传说材料为基础的研究范围。反映人们的宗教和神话观念的仪式诗歌是哈卡斯民间传说中研究最少的类型。本文分析了19世纪末由N. F. Katanov(1878-1892)记录并发表在《突厥部落民间文学样本》中的文本。哈卡斯仪式诗歌被认为是第一位哈卡斯学者的民间传说遗产收藏的一部分。N. F. Katanov从克钦人、克孜尔人、萨盖人和肖尔人那里收集了大量关于仪式诗歌的材料。极具价值的是关于仪式民俗的记录，它对仪式、仪式中使用的属性、萨满的行为以及他们对神灵和地方神灵的咒语进行了完整的民族志描述。这位学者对仪式特别感兴趣，因为它是语言和行动、仪式和口头文本的复杂互动。此外，N. F. Katanov记录并留给后代的萨满教民间传说的记录丰富的基金。
{"title":"Ritual poetry of the Khakass in the materials of N. F. Katanov (to the 160th anniversary of his birth)","authors":"V. V. Mindibekova","doi":"10.17223/18137083/79/3","DOIUrl":"https://doi.org/10.17223/18137083/79/3","url":null,"abstract":"The paper describes the main milestones of expedition and research activities of N. F. Katanov (1862-1922) and his contribution to the collection and study of folklore material. With most of N. F. Katanov’s scientific works and field materials still unpublished, this work aims to attract the attention of researchers to the material of the outstanding scholar. A more extensive study and publication of N. F. Katanov’s works will contribute to the preservation of the unique folklore tradition of the Turkic-speaking peoples of Southern Siberia and expand the range of research based on the scientist's folklore materials. Ritual poetry reflecting religious and mythological ideas of the people is the least studied genre of the Khakass folklore. The paper analyzes the texts of the late 19th century, recorded by N. F. Katanov (1878-1892) and published in the “Samples of folk literature of the Turkic tribes”. The Khakass ritual poetry is considered as a part of the folklore heritage collection of the first Khakass scholar. N. F. Katanov collected a wealth of material on ritual poetry from the Kachin, Kyzyl, Sagai, and Shors. Of great value are records of ceremonial folklore with full ethnographic descriptions of rituals, attributes used in rituals, actions performed by shamans, and their incantations addressed to deities and spirits-masters of localities. The scholar was especially interested in a rite as a complex interaction of word and action, ritual and verbal text. Also, N. F. Katanov recorded and left to descendants a rich fund of records of shamanic folklore.","PeriodicalId":53939,"journal":{"name":"Sibirskii Filologicheskii Zhurnal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67577109","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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