The Buryat epics about Huhedej Mergen stand out among other uligers with their hero known throughout Siberia and Central Asia, one of the ancient and senior heroes of the Buryat epic preceded Abaj Geser.
The relevance and novelty of the study is in the detailed consideration of epic stories with this character previously unpublished and practically not mentioned in the works of researchers.
The purpose of this work is to give an overview of the epic stories about Huhedej Mergen using the methods of comparative analysis to identify common features and specific plot-motif features.
The mythological image of Huhedej Mergen among the Western Buryats concentrated the features of a hunter, an ancestor, a revered hunting and military deity and a thunder god. However, the mythological hypostasis of the Sky Hunter is not realized in epic stories. In the epic tradition Huhedei Mergen splits into two acting as a thunderer and a hero (sometimes in the same uliger plot) and according to researchers he is a prototype of a hero-deity containing the concept of the son of heaven characteristic of the Central Asian folklore and mythological tradition, the brightest representative of which is Geser. Uligers about Huhedej Mergen recorded among the Bokhan, Kuda and Unga Buryats indicate that this character was popular and widespread among all groups of Western Buryats. The main storylines of these uligers are not much different from each other but different background and ending give the narratives a different perception. Uliger Huheldej Mergen represents an early type of uligers about heroic matchmaking, retains the mythological lone hero in which the features of the first ancestor, the cultural hero and the idealized member of the patriarchal tribal team are concentrated. The plots of different versions of Huherdej Mergen and Huhosej Mergen retained their ancient “core” having become contaminated with stories about military exploits and it is on their basis that one can draw a conclusion about the transformation of mythological images, the change of heroes, the complication and cyclization of epic stories.
The musical culture of the Turkmen people is characterized by an abundance of genres and performing traditions. Ersary is one of the largest Turkmen tribes living in the Lebab velayat (region). Bakhshy (traditional singers) Ersary’s singing style is distinguished by a peculiar soft and melodic delivery of voice, which distinguishes them from other local schools. A number of articles by local journalists are devoted to the musical and poetic heritage of bakhshy Ersary. There are articles published in newspapers and magazines memoirs of the elders about individual bakhshys and bearers of the epic tradition. At the same time, special studies that reveal from a scientific point of view the entire panorama of the existence of the Ersary school (Ersary Yoly), repertoire, timbre originality and other performing features of the bakhshys of this direction have not been undertaken to date.
The purpose of this article is to describe the prominent representatives of the Ersary Yoly, observing the chronology of their life, to characterize the genre repertoire and the originality of the performing style of this school.
To achieve this goal, historical and comparative-typological research methods were used. For the first time, an attempt has been made in the work of a musicological analysis of issues related to the performing repertoire, genre diversity and stylistic features of bakhshy Ersary.
The novelty and relevance of the article lies in the fact that it contains information about the richest fund of genres that are typical for this region, but have not yet been introduced into scientific circulation.
The presented information about the performing style of the Ersary will fill the gap in the description of the unique directions of the Turkmen bakhshy schools. The results of the study present the chronological information about the mentors and followers of Ersary Yoly, as well as a description of their performance features. The genre varieties of bakhshy Ersary described in the article are of interest both to musicologists and to folk performers of other schools. The remoteness of the Lebap region from the capital center of Turkmenistan influenced the preservation of original vocal, instrumental and epic genres by Ersary performers. Similar genre varieties, with their specific features, were also widespread in other performing areas, but most of them have now come out of performing practice.
The relevance of the article lies in the fact that the transformation of the image of the bull in the Yakut epic has not become the object of special study, and research in this direction makes it possible to identify not only changes in poetics, but also local features of olonkho.
The novelty of the study lies in the fact that for the first time the changes in the traditional image of the bull in the oral tradition of the Yakuts, in particular the olonkho, are studied, more widely covering folklore and ethnographic material.
The purpose of the study is to investigate the transformation of the image of the bull in the Yakut heroic epic, in particular the olonkho of the Vilyui epic tradition.
To achieve the goal, the following tasks were set: determining the semantics of the traditional image of the bull in mythological and epic texts, including the author’s texts of olonkho; identification of features in the image of the bull – the son of a hero in the Karataev’s olonkho
The Bogatyr Tong Saar. The work uses methods of comparative study, structural-semantic, functional analysis. Thus, the traditional semantics of the image of the bull in Yakut folklore, including the heroic epic, expresses mainly negative connotations related to abaahy – hostile creatures for a human tribe. However, over time, some changes began to appear, transformations in the image of the bull, associated with local features, the extinction of the epic tradition, the strong influence of shamanism, increased improvisation among individual storytellers, etc. As we have considered, this process occurred gradually, starting with the fact that in some epic texts, the bull acts as a mount for the bogatyr from the Aiyy Aimaga tribe, the main character turns into a bull, and, finally, the bogatyr is born in the form of a bull. It was revealed that zoo/ornithomorphic heroes from the Aiyy Aimaga tribe, conceived and born in unusual conditions, are in the intermediate layer of images and are deprived of many privileges available to the main characters. It was determined that in some author’s works based on olonkho, the traditional folklore semantics of the bull completely changes, yielding to a rational, everyday vision of the world. In the further study of the semantics of other zoo/ornithomorphic characters of the olonkho with the involvement of a wider material, the prospect of this study is seen.
The article presents the results of a study of deictic (indicative) pronouns reflected in the texts of the Khakas heroic tales Altyn Aryg, Albynchy, Akh Chibek Aryg, recorded from the famous Khakas folk epic-teller and improviser S. P. Kadyshev (1885–1977); Ai Khuuchyn, recorded from the epic-teller P. V. Kurbizhekov (1910–1966); Khara Khuskhun, recorded from the epic-teller P. V. Todanov; and Ai Michiknen Kyun Michik, recorded from the words of the epic-teller P. T. Borgoyakov. Like other indicative words, deictic pronouns serve to determine the degree of remoteness of the object relative to the position of the speaker (“deictic center”). Each language has its own system for determining the degree of remoteness of the subject relative to the deictic center. In some languages, there is a binomial system, in others – a three-term system. In the Khakas language, the degree of remoteness of objects relative to the speaking person is determined through a three-term system: proximal (“closer to the speaking person”), medial (“a little further from the speaking person”), and extreme (“far from the speaking person”). As our research material shows, in the texts of Khakas heroic tales, the degree of remoteness of objects is more often carried out through a binomial system (proximal and extreme), with the medial one being rare.
The relevance of this study is due to the fact that deictic pronouns are active in use and are of great interest to linguist researchers.
The need to study demonstrative pronouns in the texts of Khakas heroic tales is caused by the lack of elaboration of this issue on the material under consideration, which determines the relebance of the study.
The purpose of the article is to identify demonstrative pronouns in the texts of Khakas heroic tales.
The objectives of the study include the identification and analysis of all demonstrative pronouns found in heroic tales.
The analysis of the factual material was carried out using a set of linguistic methods and techniques.
The method of continuous sampling of examples (providing for the selection of examples for analysis and writing out all the examples of the analyzed type from the texts of heroic tales in a row), descriptive (to identify demonstrative pronouns and their consistent description from the point of view of their functioning) method were recognized as the most promising in solving the tasks set. As a result of the study, indicative pronouns of proximal, medial and extreme deixis were identified and analyzed; indicative pronouns relevant to the language of the heroic epic were determined. The results obtained can be used in the reading of lecture courses on the Khakas language at the philological faculties of universities, in the compilation of educational and teaching aids, dictionaries. In the future, interesting results can be obtained from studies of demonstrative pronouns characteristic of the texts of heroic tales, in comparative and comparative-typological coverage.
The aim of this work is to highlight the main forms and specifics of artistic, figurative cognition in the Yakut olonkho.
In the world and Russian literature, the following concepts are introduced into the scholarly turnover: “rhythmic-syntactic parallelism”, “formula”, “epic formula”, “epic cliche”, “common places”, “typical places”, “tirade”, denoting important structural elements of an epic text. However, though regarded as identical concepts in many studies, these concepts are studied and defined, as a rule, separately and practically independently from each other. Therefore, the problem requires further clarification and research. These circumstances determine the relevance of the research topic.
The novelty of the work lies in the fact that the allocation of the main forms of artistic cognition, characteristic only for the Yakut epic, has not yet been conducted in the scholarly literature.
The author believes that the main forms of artistic figurative cognition in the Yakut Olonkho are as follows: the rhythmic-syntactic parallelism, epic formula, and the epic tirade. In the epics of other nations, other forms of artistic cognition are possible, but this question is not yet the subject of our consideration. Based on the dialectics of philosophical categories of essence and phenomenon, the author gives more precise definitions of these forms of artistic cognition in the olonkho. Based on specific examples found in a variety of published texts of the olonkho, the author substantiates his assumption that they are specific forms of artistic cognition in the olonkho. The epicteller-improviser, perfectly mastering this almost ready, centuries-honed, polished set of rhythmic-syntactic parallelisms, epic formulas and rants and creatively developing them, created his unique works. The author emphasizes that these forms of artistic cognition are not fixed speech constructions, but are changing, developing in time, dynamic forms of artistic figurative thinking, which can also be explained through the dialectic of categories of the singular, the general and the particular. This means that in each particular case, in each unique text of the olonkho, we find the same content and essence of rhythmic-syntactic parallelisms, epic formulas and epic rants. Yet they also necessarily reflect the regional specificity of the local-territorial school of narrators and the personal uniqueness of a particular narrator. The work uses the methods of philosophical dialectics, comparison and scientific analysis.
The article examines the materials of the legend of Yata-garasu in ancient Japanese sources.
The purpose of the work is to define the historical basis of this legend.
The urgency of the work is determined by the weak degree of research on this topic.
The work uses historical, logical and historical-comparative methods of scientific-historical research. It was determined that initially it was a legend about an associate of the founder of the Yamato dynasty and the Yamato state – Kamu-yamato-iware-biko (ruler Jimmu) named Kamo-no Take-tsunomi-no mikoto, about a noble person, who came from southeastern Kyushu (from the Himuka region) and even before the Eastern campaign ruler Jimmu who settled in central Japan. Kamo no Take-tsunomi-no mikoto (future Yata-garasu) came from Kyushu Island (from the So district of the Himuka region). The name of the Kamo-no Take-tsunomi-no mikoto’s father is known – Tsuno-kori-(tama)-no mikoto, who was the ancestor of the Chikara-be corporation. It is revealed that they were descendants of Nigi-hayahi-no mikoto’s associates in his relocation from Kyushu to Kinai in the middle of the 3rd century CE. It is determined that his nickname is “leader Yata-garasu” (Jap. kashira Yata-garasu, which can be interpreted as “a leader [similar to the mythical] Yata-garasu”) Kamo no Take-tsunomi-no mikoto received from the ruler Kamo-yamato-iware-biko (Jimmu) for his black clothes’ external similarity with a huge raven, as well as his special manner of moving on trees as a spy. It is determined that at the end of the Eastern campaign, Take-tsunomi-no mikoto (nicknamed Yata-garasu), received awards, and may also have been associated with military affairs, since his descendants were the leaders of the tomori-be – the guards of the palace or temple in the Kadono (Katsurano) area. According to the materials of “Sumiyoshi-ki” (if there is no mistake in this), it was established that Take-tsunomi-no mikoto (Yata-garasu) lived to the time of the Korean campaign of the empress Okinaga-tarashi-hime (Jingū), which according to Korean sources dates from 346 CE. At that time, Take-tsunomi-no mikoto was about 66 years old. At the same time, his children (sons) lived. The result of the study is the conclusion that information about the person Take-tsunomi-no mikoto (who lived in the late 3rd – first half of the 4th centuries), in connection with his nickname “Yata-garasu” (“Raven in Eight ta”), due to misunderstandings and distortions in the following times, turned into a fabulous legend about a certain huge three-legged “Golden Raven” who flew in front of the army of emperor Jimmu, showing him the way to the interior of central Japan.
The article is devoted to the study of the cultural worlds (realia) in the Yakut heroic epics of olonkho and their translation into Russian and English. In the theory of linguistic sciences, realities occupy a special place. Realias are a complex and peculiar object in terms of translation and the language itself; when they are transferred to other languages, they adapt to a different culture and language structure with the condition of preserving national characteristics. Yakut cultural worlds represent the uniqueness of the Yakut culture, history and worldview of the Yakut people, an in-depth study of the linguistic reflection of which in the olonkho is an integral and important part of the study of the Yakut heroic epic as a whole and remains relevant to this day. Being words with bright specifics, realia create difficulties in translating national-cultural texts into other languages. The study of ways of translating realia is one of the topical areas of modern linguistics in the field of translation with the national languages of the Russian Federation. Olonkho with translations into Russian and English were selected as the material of the study: Nyurgun Bootur the Swift by Platon Oyunsky, Eles Bootur by Pyotr Ogotoev, and Bogatyrka Kyys Kylaabynai by Daria Tomskaya.
The purpose of this work is to analyze the groups of realias of the Yakut heroic epics of olonkho and the ways of their translation into Russian and English.
The study used the method of continuous sampling in the collection of material; a descriptive method for highlighting specific linguistic phenomena, typical features of linguistic forms, studying the realia of olonkho and translating them into Russian and English; structural method to study the functioning of realia in the epic text, their translated forms; comparative-comparative in identifying common and distinctive properties and features between the Yakut and Russian language forms, translation correspondences. The analysis of the studied material led to the conclusion that the main methods of translating realias are the transcription of words and the use of descriptive translation as a commentary on the realias, in most cases, these methods are used together, national realias have a specific sound and carry a special meaning, embodying the spirit and culture of the Sakha people, therefore, the method of transcription in this case is a preserving aspect of the cultural image of the work, and the method of description is a complementary factor that allows a foreign reader to understand the meaning of the realia. Translation of realia is a complex process regardless of the language; therefore, the transfer of each unit requires a special approach and understanding of the culture and language of the translated work.
The research objective is to consider various aspects of the translation of the Yakut epic tradition: linguoculturological, lexical, stylistic and phonetic, including spatial and cultural dislocation of epic proper names (PN), the transfer of which into another language causes particular difficulties. The concept of PN includes proper names and vocabulary specifi c to a particular culture.
The relevance of this work is due to the lack of theoretical and methodological work on the principles of the translation of Yakut epic texts, as well as the need to create adequate translations of Yakut texts in other languages.
The main research methods are the comparative method and methods of phonological analysis. The methodological basis was the works of foreign and Russian researchers on phonology: L. V. Shcherba, L. R. Zinder, V. N. Vitomskaya; on the theory and practice of translation: A. V. Superanskaya, T. A. Kazakova, J. Catford; the works of researchers on the theory of the Yakut language and linguistic problems of the study of Yakut olonkho: O. N. Betlingk, N. D. Dyachkovsky, E. I. Korkina, I. V. Pukhov; on the translation of the Olonkho epic into Russian: T. I. Petrova, et al. The study analyzes examples from various epic texts taken from previously published sources and manuscripts, as well as from the fi rst full-text English translation of the Yakut heroic epic Olonkho Nurgun Botur the Swift by P. A. Oyunsky, 2014. The article presents widely the ways of overcoming the cultural incompatibility of PN and other diverse cultural-specifi c components when translating them from Yakut into Russian and English. As the results of the research, such translation techniques as transcription in combination with transliteration are proposed, for which a table of practical transcription of Yakut phonemes into Russian and English has been developed; translation using an analogue; approximate translation; simplifi cation of the sound and graphic forms of the word in translation, etc. At the same time, the author separately mentions the undesirability of cultural substitution of concepts.
