One of the most difficult questions in the specifics of folklore is still the question of the extent of expression or complete absence of poetic or artistic origins within it. On the material of the folklore collection of two expeditions (1938–1940) of Yakut researcher Andrei Andreevich Savvin, an attempt is made to identify and describe the poetisms of the Yakut oral tradition.
The aims and objectives of the article include the analysis of folklore variants proper, recorded by Savvin, in the aspect of discovering the poetic origins in them, which determined the structural and typological method of research.
In the folklore recordings by Savvin, a stable layer of archaic texts is found, which are distinguished by a distinct structured poetic plan. In this regard, it was suggested that one of the criteria for selecting these variants was the presence of a poetic origin in them, which allows us to consider them as poeticisms of archaic origin. The poetological in them is expressed for the most part through the form and its elements (formulas, the organization of a line-verse, repetitions and parallelisms, etc.), covering the whole structural deployment of the entire text. As a result of the analysis, it was found that the presence of a poetic origin in a text is not contingent on its genre and volume, and the source of such functionality is the poetic language of the tradition as a whole, when an arsenal of poetic means is borrowed from this common heritage. At the same time, the poetic origin in folklore is fundamentally different from the poetic function (Roman Yakobson’s term) in a literary text; on the one hand, it is closely connected with the mythopoetic origin in the tradition itself, being one of the forms of its textual expression; on the other hand, with the “oral” nature of folklore and its hidden poetics, in contrast to the explicit poetics of literature. Thus, the problem of the poetic origin in folklore brings us to the plane of delimitation of two different types of poetics and, accordingly, the differences between folklore and literary types of text.
Russian fairy tales of the plot type 161A* are analyzed in the article. Among the texts marked in the index of “Comparative index of plots: East Slavic fairy tale”, twenty one variants belong to the plot type 161A*.
The relevance of the research is determined by the fact that the archetypal image of the bear is of great importance in the spiritual heritage of the peoples of Russia, as well as the need to turn to the genres of folk art of the ancient population of Russia.
As a result of the analysis of texts another text of the plot type 161A* was introduced into scientific research.
The novelty of the work is determined by the fact that for the first time all Russian versions of the fairy-tale plot are analyzed.
The purpose of the article is to study Russian fairy tales of the plot type 161A* “Bear on a fake leg”.
The following tasks are set: on the basis of comparative typological study to identify typological features and originality of Russian fairy tales of the plot type 161A* “Bear on a fake leg”, to analyze their plot composition, to show their relationship with other genres of folklore.
Research methods: the fundamental principle of the research is comprehensive method, including comparative-historical,
structural-typological, textual, since the study of the typology of contact relations in folklore, in all the diversity and complexity of modern problems, is impossible without the widest and systematic comparative analysis.
Main conclusions: the article shows that the structure of fairy tales that include the archetypal image of a bear in their
narrative is multidimensional and includes four layers: the idea of a bear as a totem; the period of animals cult death, when an ironic description of animals habits, in particular a bear, appears in fairy tales; the world of animals in fairy tales is perceived as an allegorical image of a human; genre borderline, when the boundaries of a fairy tale are blurred, and it, for example, transforms into bylichka or children’s horror story.
As a result of the long period of existence of the plot 161A* the tale of the bear on the lime leg turned into a schematic interpretation, ending in children’s horror stories or even lullabies. In addition, the fairy tale is related to the world of the dead or another force represented by a bear or a character replacing it. In particular, in some variants with the plot type 161A*, the plot type 366A* “A finger with a ring cut off from the deceased” is contaminated. The prospects of the research are referred to the further development of the topic with the inclusion of materials of literary works with this plot.
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In this article the authors compare the plots of the storytelling repertoire of the Altai storyteller Nikolay Ulagashev and the epic Yangar performed by the storyteller Nikolay Yalatov with the help of researches of scholars of the 1940s and later period, for complete reconstruction of plot lines, reflected in the epic tales of that period.
The aim of the research in this article is to study the repertoire of Ulagashev as one of the sources of the epic Yangar in the context of reconstruction of storylines and in comparison with the information of scholar Leonid Potapov. The material for this research was the publication of the article Heroic epic of the Altai people by Potapov in 1949 in the journal and the repertoire of the famous Altai storyteller of that time Ulagashev.
The method of research was a complex study of all available materials (research, textological, facts) relevant to the topic of our article, as well as comparative-contrasting, which we applied in the analysis of the repertoire of stories' plots.
The scholarly novelty of this article lies in the fact that the study of the Altai epic Yangar in the context of narrators' and researchers' information has not yet been the subject of an independent study, but this problem is extremely important for a complete understanding of the genre of Altai legends as an organic part of the folklore of the Altai people.
The study of these issues seems very relevant for further comparison of the South Siberian version of the epic Yangar with the Central Asian ones in general, and its scientific systematization with consideration of all versions and the Mongolian epic Jangar. Noting the distinctive moments, the authors use the example of specific texts to identify the general course of the plot, the composition of characters related to the batyr Yangar, which largely coincide, except for them there are common episodes and motifs. In this regard, the authors draw conclusions about the common archaic roots of heroic tales from the repertoire of two narrators who lived and worked in different historical periods.
The relevance of the study is due to the fact that interest in the connection between words and music in the Yakut folk song has arisen since the formation of Yakut ethnomusicological science. At the same time, special scholarly works devoted to the ratio of the verbal part and the tune of the song sections of the olonkho, related to the plot of the epic, are also absent. Of interest are the research of comparing the plot of the verbal part of songs in olonkho with the quantivative rhythm of tunes. This determines the relevance of this article. Discussion. In musicology, the connection of word and music is studied in terms of comparing the intonations of music and speech. Research was also carried out in the field of communication between words and music at the phonological level. Comparison of the plot of songs with music was carried out from the point of view of phraseology, but the relationship of the plot with quantivative rhythm is absent due to the fact that the quantivative rhythm of Yakut traditional tunes has not been investigated. It seems that nevertheless, some kind of relationship between the plot and the quantivative rhythm of the chant is present in the song sections of the olonkho.
The purpose of the article is to investigate the relationship of the plot of the Vasily Karataev’s olonkho Mighty Er Sogotokh in the context of the connection between word and music in the Yakut tradition of the Vilyui region.
Based on the goal, the following tasks are formed: study the word text preceding the song and its plot in relation to the tune; identify the connection of the music of the song sections with the word in the beginnings and during the transition of singing into speech; consider the relationship of the plot with the quantivative rhythm of the tune the songs of zoomorphic characters.
The novelty of the study is due to the fact that the plot of the Karataev’s Mighty Er Sogotokh in the context of the connection between word and music in the Yakut tradition of the Vilyui region is being studied for the first time.
Musical material is the notations by N. N. Nikolaeva of the recordings by Vasily Illarionov 1982 and 1986 years of the Karataev’s olonkho Mighty Er Sogotokh, published in her monograph “Epic olonkho and Yakut opera” (1993) and in the volume “Yakut Heroic Epic Mighty Er Sogotokh” (1996) series “Monuments of Folklore of the Peoples of Siberia and the Far East”. The methodological basis was the research works of M. G. Kondratyev, E. N. Kuzmina, T. V. Popova, A. P. Reshetnikova. The work uses the comparative method. The results of the study are related to the fact that the plot of olonho is associated with the singing of the obligatory preparation of the appearance and end of the song, direct relationships are found in the tinted speech of bundles and endings, and in the beginnings of song sections. The songs of zoomorphic characters belonging to epic characters based on plot motifs are transmitted mainly by seven-syllables and eight-syllables, which are realized in singing by a quantivative trochee, and in the song of the horse initial and cadence by a quantivative iamb. The work carried out found that the Vilyui tradition is dominated by more ancient mobile forms of rhythmic organization.
The article describes a character of Khanty folklore featured in tradition in a set of plots and recognizable by his temperament, but acting under different names. The most common name of a character of this type is Grandmother's Grandson (Imi Hiλy).
The article aims at considering similar fairy-tale and myth characters in the Khanty folklore, revealing their specific and at describing common plots in which this character acts.
Using structural analysis developed by V. Ya. Propp we revealed 6 types of plots in 22 texts in Kazym, Synya, Sherkaler, Surgut, Vakh, Middle-Ob, Shuryshkar, Priural, and Nizyam dialects of the Khanty language: about interaction with a giant (the most widespread type which is represented by several varieties: fight with antagonist, salvation of antagonist, magical gifts, about getting a bride); about hunting for a moose; about confrontation with a father; about a step-son; about revenge for a father; about a Heavenly Rider in the Subterranean World; anecdotal stories. The article describes the most significant motifs found in these plot types: a miraculous birth, violation of a prohibition, elimination of a shortfall. The identification of fairy tale and mythological characters is a trait of Khanty folklore. All the mentioned characters of Khanty folklore are dispensed to the different folklore genres: fairy tales and myths, which in this case represent two interconnected parallel genre system different in the degree of metaphorization of the ideas presented and also, probably, oriented at different categories of
listeners, children and initiated adults. In conclusion, the generalized portrait and mythological story about the Grandmother's Grandson are reconstructed, whose main function is to be a defender of the suffering and a force capable to restore justice.
The relevance of this study lies in the use of folklore data for the reconstruction of the history of non-literate peoples to which the Khanty belong, for whom folklore is one of the most important ways of transmitting cultural and historical information.
Recently, the concepts of “code” and “cultural code” have become increasingly used in the humanities. This is due, according to the author, to the fact that the code as a system of signs and a set of rules used as, according to Maslova and Pimenova, is used for encryption, decryption, storage, explanation and transmission of information about cultural phenomena or about the culture of any peoples.
However, in Tuvan studies, in particular in Tuvan folklore studies, these concepts are insufficiently studied, which explains the relevance of this study.
In the presented work, the author examines the cultural code in Tuvan heroic tales based on the classification given by Maslova and Pimenova. The classification of cultural codes itself is carried out in accordance with the plot order of heroic tales.
The purpose of this study is to identify cultural codes found in the texts of Tuvan heroic tales.
The task of the research is to describe and analyze all the cultural codes found in the epic texts of the Tuvan people.
The methods and approaches used by the author to solve the tasks set were the method of continuous sampling of examples, the descriptive method, as well as the semiotic approach. This study was conducted on the material of the Tuvan heroic tales “Khunan-Kara” and “Boktug-Kirish, Bora-Sheelei”, which were included in the academic series “Monuments of folklore of the peoples of Siberia and the Far East”. The author specially chose these texts, because in Tuvan folklore studies it has been established that these materials are classical texts in artistic terms, which are not subject to any distortion and literary processing.
The novelty of the research lies in the fact that Tuvan studies for the first time consider cultural codes in the texts of Tuvan heroic tales.
As a result of the study, it was revealed that the following codes are used in the texts of Tuvan heroic tales: behavioral, spatial, zoomorphic, somatic, nutritional, colorative, verbal, temporal, and subject. The set of codes under consideration is primarily related to the ethnic culture, expressed by certain linguistic components. The author believes that these components are the key words that convey the meanings of cultural codes, thanks to which the essence of a phenomenon in epic texts is explained. Our material shows that the social function of cultural codes is to describe and convey to listeners the heroic tales of the inner and outer world of the main character.
The authors discuss the types of military weapons of the Yakut bogatyr warriors based on folklore materials in a comparative and comparative way with the combat set of weapons of the ancient Yakuts from archaeological sources.
The relevance of the study is determined by the need to study military weapons based on the materials of folklore genres. The Yakuts were able to keep their historical memories in mythology and folklore.
The lexical materials of the Yakut, Old Turkic and other Turkic languages is involved in this analysis. In this perspective, the Yakut bow, spears, palma spears, hammers, axes are considered.
The novelty of the work lies in the fact that the types of military weapons of the Yakut bogatyrs.
This characteristic based on the materials of olonkho and legends in a comparative plan with real historical types of weapons.
The purpose of the study is the analysis of the types of military weapons of the Yakut bogatyrs, it was based on folklore materials.
The main conclusions are additional or clarifying materials on the study of military weapons of the Yakut heroes.
The materials of the olonkho confirm the use of materials for making the Yakut’s bow okh saa. We managed to establish that the approximate range of the Yakut bow is 1.5 km based on the materials of the historical legends. In addition to the combat bow, the Yakut’s hero had in his equipment yngyy “a spear”, sygeh “a battle axe”, tereek sygeh “an ax with a wide blade”, batas, batyia “a palma, short hunting (for a bear) spear”. This yngyy spear of the Yakuts and Dolgans was used as hunting and military weapons. The mallet was one of the types of close combat weapons. The next type of close combat, according to the materials of the olonkho, can be a sygeh battle axe. This was a kind of battle like tereek sүgeh ax with a wide blade. The process of making okh saa bow and batas spear was giving in detail in the olonkho texts. The texts give descriptions of the superior quality of the iron from which the hunting spear was made. Most epithets of the palm tree in the olonkho materials reveal the functional purpose of the deadly weapon. The Yakuts had one formidable weapon, which called batyia, but descriptions of this type of weapon was not found in the olonkho texts. Descriptions of batuya remained only as part of the epithet and comparative constructions of olonkho.
The relevance of the research topic is due to the ever-increasing interest in the structural analysis of epic texts and its variants, in particular, in the study of the patterns of functioning of plot construction, the interpretation of peculiar plot motifs and epic characters.
One of these texts is the olonkho Khardaachchi Bergen by A. T. Titarov, which has several recordings of different times, but known in the scholarly community in two versions of the recordings. The first version is the full text transcribed from the tape recording by Yu. I. Sheikin and M. L. Didyk (1986) and published in 2022 in three languages as part of the XV Republic’s Olonkho Ysyakh in Verkhnevilyuisky district. The second option is an incomplete handwritten text recorded by P. N. Dmitriev (1987). The article is devoted to the structural analysis of these two recording options.
The aim of the study is a comparative study of the versions of the records of the olonkho Khardaachchi Bergen in terms of plot and motif composition, poetic features of the formula for the name of epic characters and the language of olonkho.
To achieve the goal of the study, a textual description of the manuscript, a comparative method and structural analysis were used. The methodological basis was fundamental research on the problems of textual criticism and variability of epic texts, the poetics of epic narration and some aspects of mythology. As a result of a comparative analysis of two versions of the recording of the olonkho Khardaachchi Bergen, we came to the conclusion that the variability of the texts is synonymous, since the olonkho-teller’s manner of performing depends on the place, time, audience, and even on the focus of the recording specialist. Both recording options, complementing each other in terms of content, quite fully reveal the originality of A. T. Titarov. In the course of the study of plot motifs, their organic inclusion and variability in both records was traced, the epic formulas are the same in terms of content, figurative and structural foundations. Specific motifs associated with ritual and ceremonial actions and the individualization of the narrator are found. There is a transformation in the system of epic characters, in particular towards mythological heroes. In general, the olonkho is notable for its small volume, dynamic plot, the presence of characteristic motifs of the epic tradition of the Vilyui region, and the variation in the names of the characters.
The article considers the rhythm of prose on the example of the epic work Kudangsa the Great (Uluu Kudangsa, 1929) by Platon Oyunsky, one of the founders of Yakut literature. Oyunsky, an innovator of Yakut literature, created one of the most rhythmic texts. This fact is explained by the author of the article by the factors actively influencing the functions of fiction related to the events of the early 20th century.
The relevance of the research is due to the fact that the question of characterizing the specificity of the rhythm of prose, its analysis remains unresolved in Yakut literary criticism.
The study of the rhythm of Oyunsky’s prose in the rhythmic-intonation aspect is a new approach to the study of the poetics of the writer. Among the most important achievements of the writer in the organization of Yakut rhythmic unity are all levels of language of the heroic epic Olonkho.
The aim of the article is to identify the artistic functions of rhythm in the work Kudangsa the Great by Oyunsky.
To achieve the goal the following tasks were set: to focus on identifying the functional role of rhythmic prose; in this regard, to pay attention to the rhythm of the heroic epos Olonkho.
Methods of comparative and comparative study, functional analysis were used in the work. Oyunsky’s prose is significantly distinguished by a pronounced rhythmic organization. It was revealed that the writer, using the techniques of epic depiction in the story Kudangsa the Great, often refers to the stable epic formulas that give the work a special rhythmic and colorful. In the story, figurative and expressive means that characterize the emotional state of the characters constitute one of the main features of the work. In the story, Oyunsky presented a significant role in creating the emotional and expressive function of the prose rhythm. We associate Oyunsky’s use of rhythm in the work with the olonkho epic, which carries its own functional load and brings a rich language to the text. As the study shows, the rhythmization of prose in the works of the writer occurred as a result of storytelling by Oyunsky himself, as well as his poetic experience, which resulted in the formation of the writer’s prose style.
Transformation processes take place in society in many areas of people’s lives and activities. In such conditions, the importance of in-depth studies of the mythological consciousness of man increases. The archaic texts of the Yakut epic olonkho have a rich symbolic nature, which appears as a fertile ground for the study of deep meanings and structures. The focus of this study is on the codes of the beginnings of multi–temporal fixations of the central epic tradition of the Yakut storytelling art.
The purpose of the study is to identify the code confi gurations of the olonkho beginnings of the early and late periods of recordings, fixing changes in the coding categories of the contents of the beginnings.
The work uses a comparative typological approach, structural-semiotic and quantitative analysis (continuous sampling method, statistical analysis), the method of hermeneutics and induction. The analysis revealed 264 units of codes from the beginning of the early olonkho record, and 112 units from the later record. In both beginnings, there is a hierarchical alignment of codes on three levels. It was found that the frequency of use of codes in the beginning of the later record is higher than in the early one. Numerical, semantic, somatic, and color codes were found to be stable in time. It is also noted the use of the hidden code of the unconscious and geo-economic code in the beginning of the later record, which are absent in the early record. In the latter, paired combinations of two codes are noted – natural-climatic, zoomorphic-color, which is not found in the beginning of the later record. In general, there is a signifi cant reduction in the volume of the beginning of the later record compared to the early one. However, identity is verifi ed in the implementation of the main function of the beginnings – the manifestation of “representations” of chronotopes of subsequent events of epics, where codes appear to be an important structure-forming component of myths. At the same time, the “loss” of a number of plot motifs from the beginning of the late recording is partially compensated by an increased use of code confi gurations. The absence of the main component of the hero myth in the beginning of the late recording of olonkho serves as an indicator of the functioning of the “micromyph”, and not a real myth built in accordance with the mythological model.
