The article explores the concept of Homeland in Buryat heroic narratives, which is a key concept for the national consciousness a nd functio ns in the folklore text as the main component of the universal opposition “us-them”. The Buryat epic (uligers), as any heroic epic works of other peoples, also contains in its poetic structure various formulaic expressions in which the image of Homeland is vividly represented. Heroic epic works of the Buryats – “Alamzhi Mergen”, “Abai Geser Bogdo Khaan”, “Abai Geser Mighty”, “Abai Geser” - were analyzed in this research.
The purpose of the article is to identify the conceptual features of one of the basic concepts of the national world view – Homeland – in Buryat uligers.
Structural-semantic, structural-typological methods were used in the analysis of folklore texts.
The relevance of the research lies in the fact that at the present time the semantic meaning of the concept of Homeland in the epic texts of the Mongolian peoples has not been suffi ciently studied.
The study of the epic works of the Buryats showed that in their structural content there are also a lot of paroemias, well-wishes representing the concept of Homeland. As a result of the study, it was revealed that the concept of Homeland has significantly expanded its semantic content through lexical units, and it is also an everyday, axiological concept that characterizes the ethno-cultural identity of the people. The analysis of the semantic features of the concept of homeland in Buryat uligers showed that this concept characterizes a person’s life view of the world, a certain social experience of the people, represents one of the sides of the linguistic world view, which includes its peripheral zone.
The spiritual, moral, philosophical foundations of Olonkho were covered in the works of leading researchers of Olonkho: philosophers, founders of Yakut literature. Humanism, patriotism, admiration for heroism are revealed as the main content of the Olonkho. It is emphasized that the Olonkho reflects the deep sources of the worldview, cosmogonic ideas, the cult of nature, mythologism, based on the idea of “happiness and well-being of the whole tribe” (I. Pukhov). The folk poetic traditions of Olonkho played a decisive role in the development of the genres of Yakut literature including the genre of the historical novel. The dynamics of the genre evolution of Yakut prose in the second half of the 20th century determines the relevance of the study of the historical novel genre in the aspect of traditions and innovation. The literary process of the period under review is marked by a new interest in the folk poetic heritage, Olonkho and legends. The increased level of national self-consciousness in the new social and historical circumstances led to an active appeal to the wealth of the ethno-cultural memory of the people.
The aim is to identify the role of Olonkho in the spiritual and moral formation of personality in the genre of a historical novel.
Methodological approaches: historical and literary, typological, conceptual. In the works of Yakut writers of different generations, spiritual and moral origins were expressed, based on the creative development of folk poetic traditions: deep patriotism, traditional beliefs and richness of figurative language. Folk poetic traditions have undergone a complex evolution throughout the history of Yakut literature. The traditions of epic narration and mythological poetics are implemented in a literary work in many ways: in the plot-motivational system, in the compositional structure, in the originality of rhythm and style, in the principles of characterology, in the author’s position, in general, in the moral and philosophical concept. All these features manifested themselves in a peculiar way in the poetics of the leading genres, as evidenced by the evolution of the genre of the novel. The new character of historicism in the genre of the novel was clearly manifested in the Yakut literature of the last decade of the 20th century. The qualitative renewal of epic traditions distinguishes the works of V. Yakovlev-Dalan, N. Petrov, I. Gogolev, P. Kharitonov-Oyuku, N. Luginov, E. Neimokhov and others, covering different periods of the history of the people. As the experience of many literatures testifies, the formation of the genre of the historical novel at a new stage indicates a high level of development of literature. The epic scale and encyclopedic breadth of recreating folk life is inherent in the first historical novel in Yakut prose “Tygyn Darkhan” by Vasily Yakovlev-Dalan. The entire epic building of the novel is permeated with concern for the spiritual and moral health of the younger generation. Creative reliance on the traditions of legends and Olonkho permeates the entire complex structure of the work: in the figurative and motive system, in the plot compositional organization, in the originality of rhythm and style, in the determining role of the author’s position. The epic rhythm of the narrative is organic in the biography of the legendary leader of Tygyn Darkhan people. The natural rhythm of the nature life determines the logic of the artistic narrative. The culture of the relationship of the northern people with the natural world is shown in many ways. The ethnosphere of the national world is expressed by the concepts: Olonkho, alaas, urasa, ysyakh, osuokhay, algys. Recreating the era of the legendary hero in the novel asserts one of the central cults of the people’s faith - the cult of the successive connection of generations, the memory of the history of the people. The moral and philosophical concept of the novel based on the traditions of the heroic epic and has a great importance in the spiritual and moral formation of the personality.
The article is devoted to the consideration of phraseological units of the Adyghe language (based on the material of the Adyghe Nart epic) with a somatic component akyl “mind”, expressing the intellectual state of a person.
The work seems relevant due to the fact that phraseological units with the lexeme akyl “mind” in the Adyghe epic “Narthere” (“Narts”) were not subjected to research.
The purpose of this study is to study phraseological units with the akyl “mind” component existing in the Adyghe language (based on the material of the Adyghe Nart epic).
In this regard, the following tasks are set: to analyze the component - somatism akyl “mind” in the context of its use in the Adyghe phraseological units of the Nart epic, to identify their full equivalents in the Russian language, to study the stylistic shades of phraseological units with akyl “mind” in the Nart epic of the Adygs.
Semantic, comparative and translation analysis is used to achieve the goal.
The scholarly novelty lies in the analysis of some features of the functioning of the lexeme-somatism akyl “mind” as part of the phraseological units of the Adyghe Nart epic, denoting the intellectual, physiological, psychological state of a person and his external manifestation.
This study is based on the scientific works of V. V. Vinogradov, N. M. Shansky, A. I. Molotkov, A.I. Fedorov, Yu. A. Tharkakho, M.M. Magomedkhanov, E.A. Bystrova and other scholars. As a result of the conducted research, we came to the conclusion that some phraseological units with the akyl “mind” component in the Adyghe and Russian languages indicate complete equivalents and significant similarity at the semantic level, which is due to the commonality of concepts of speakers of different languages. The theoretical and practical significance of the work lies in the use of the material of phraseological units with somatic components when creating a course of lectures on the modern Adyghe language and on Adyghe phraseology, in compiling phraseological dictionaries, when supplementing the existing “Phraseological Dictionary of the Adyghe language” (1980) by Yu.A. Tharkaho.
The article discusses the semantic space of the language of the archaic epic olonkho “Kulun Kullustuur the Rude” by I. G. Timofeev-Teploukhov. The subject of the research is binary oppositions that take precedence of the motives appearance in the folklore text, which are components of the traditional mythoepic world of the Yakut olonkho.
The purpose of the study is to reconstruct the process of semantization, symbolization of objects by identifying taxonomic and semantic types of oppositions, and then to demonstrate the plot-forming role of semantic oppositions in the organization of an epic text. In work the interdisciplinary approach, semantic, functional, inductive analysis, descriptive method are used.
As a result of the study, it was revealed that the semantics of objects is determined by their features depending on the situation or context, and the dynamic nature of opposition members reflects the difference in relations, degrees of comparison between polarities, leading to axiologization, eventually establishing the line-up of oppositions around a single trunk – the world creation, which comes across “generative semantics” of the development chronotopos of the further epic events.
The novelty of the research lies in the generalized analysis of the introduction of olonkho, which actualizes the differentiation of symbols from metaphors, more broadly – the semantic and structural significance of the initial element of the epic in relation to the entire body of the epic.
The performed analysis sets a vector for further research – in the direction of verifying the cultural semantics of objects that carry the attitudes of folk consciousness and behavior.
The Yakut olonkho is unique in its preservation of the ancient framework of the epic plot, plot motifs, figurative system, figurative and artistic language.
The article is devoted to the study of the texts of modern author’s works in the olonkho style in order to identify the preservation of stable authentic epic traditions in them, since in the olonkho, in its traditional sense, distortions and incorrect interpretations of the components of the epic culture created by storytellers over many centuries are unacceptable. Following the traditional canons of one’s national epic is a means of preserving the original culture of the people, and therefore the relevance of the study is obvious.
A textological analysis of the plot-compositional structure, motive composition, figurative
system of modern works in the olonkho style is offered.
The novelty of the study lies in the fact that the problem of a special study of works written in the olonkho style is a little-studied area in the Yakut folklore science.
The author’s works written and performed in the style of olonkho by one of the talented storytellers of our time V.V. Semenova “Kemus uunnekh, Kusteekh kuennekh, Kegecher attaakh, Kuoppat kuoibat, Kuttagaha suoh Kun Dibiliter bukhatyyr” (“Bogatyr Kun Dibiliter”) and L.S. Afanasyeva “Ereli Bergen” (“Bogatyr Ereli Bergen”) of Verkhnevilyuisky district. The result of the study will lead to the establishment of the preservation of stable traditional elements in them, the identification of the features of modern works in the olonkho style, the establishment of transformations. Based on the results of the analysis, it was established that, in general, modern author’s works by V.V. Semenova, L.S. Afanasyeva were created according to the traditional canons of the Yakut national epic. They adhere to the canons of the plot-compositional structure, motive composition and figurative system. They describe the heroic courtship of the aiyy bogatyrs, the battle with the abaasy bogatyrs and their return to their homeland with victory. The author’s contributions are the image of a shaman helping a hero from the constellation Yurdel, a demonstration by the mother of the bride of a sheet - evidence of the purity of the bride after the newlyweds spent three nights of love, a detailed description of Ysyakh-Uruu (“Ereli Bergen”), the motif of rain from a white-milk divine drink that turned into lake, the absence of a description of the meeting of the hero with his wife in the homeland of the hero (“Bogatyr Dibdiliter”). Occurring author’s introductions are within the limits of admissibility, they do not affect the overall picture. All this leads to the thought: the Yakut epic olonkho continues to exist, but with some changes.
Since ancient times, every nation has been telling stories about eternal heroes, which are passed from person to person. Whereas in some legends, they accomplished signifi cant heroic feats, in others, they left a mark in their nation’s history. Among these heroes are some who knew how to love and were faithful to their beloved for the rest of their lives. People idealized these heroes, and enriched them with the positive qualities that they wanted to see. The love story of these characters has survived both orally and in manuscripts. In folkloristics, these tales or stories are called romance epics. Among the Turkic peoples who came under Persian infl uence, including the Tatars, they are called dastans or kyissa. Studying the worldview presented in romantic dastans world and the characteristic features of the main heroes provides the opportunity to learn about the spiritual values and ideals of the Tatar people.
This study is relevant due to the insuffi ciency of current scholarship on the system of imagery in the Tatar romanic dastans.
The research materials for this study are the texts of epics about love, which among the Tatars includes “Leila and Majnun,” “Takhir and Zukhra,” “Kuzy Kurpech and Bayansylu,” “The story of Yusuf,” “The Sayfulmuluk,” and others.
The purpose of this article is to identify the main qualities of the imagery used in dastans, as well as their characteristic features.
To achieve this goal, we completed the following tasks: identified the main characters of the Tatar love epic, analyzed their behaviour in different situations, and compared the characteristic qualities of the main hero of Tatar folklore variants with heroes of Turkic and Persian poems.
This study used comparative and historical-typological methods. This study allows us to conclude that, each variant has many of folklore variants and literary versions. As for the protagonists, although there are many variations, they are mostly similar to each other, their appearance and the role they perform in dastans remains unchanged. This type of permanence is preserved in literary works, but the basic imagery refl ected in Tatar folk art is enriched by such qualities as patience and determination.
