Средства создания эпического образа синьцзян-ойратской версии «Джангара»

Abstract

Introduction. The study of stylistic features inherent to national epic narratives is one of the most relevant areas of modern folklore research. Of particular research interest ― in terms of identifying distinctive and typological features of the artistic style ― is the epic of Jangar and its ethnic versions (Xinjiang Oirat and Kalmyk ones). The poetic language of the epic is rich and diverse in the use of various means of depiction. The style of the heroic epic is characterized by epic formulas-comparisons that perform important ideological and stylistic functions, add figurative expressiveness to the poetic style of the epic. Goals. The study aims to identify and highlight the stereotypical and original features in the style of the Xinjiang Oirat version of the Jangar, consider the essence of artistic expression of epic images, their portrait characteristics, actions based on comparisons with specific phenomena and objects of the surrounding world. Results. The study reveals that the method of comparison in the epic poetics of the Xinjiang Oirat version is dominant and quite stable. One of the important features of comparisons is that the expressiveness of epic images and their individual elements are based on objects of the animal and vegetable worlds, phenomena of the surrounding reality, familiar and close to the worldview of a nomad/pastoralist. These comparisons are derived from a simple parallelism ― the character and appearance, actions and deeds of the hero are compared to phenomena of nature and the animal world, correlate with the national worldview of the Mongolic peoples. Subject comparisons are related to elements of the nomadic way of life, which can be used to reconstruct the environment in which the creators of the epic lived, their life and occupations. Comparisons very often take a hyperbolic tone, which gives an emotional and expressive color to epic images. The comparative-typological analysis comparisons traced in the Xinjiang Oirat and Kalmyk versions makes it possible to conclude that there are evident typological correspondences within the national epic system and the epic community as a whole. Semantics of epic images of the Xinjiang Oirat version is constructed on archetypal symbols and concepts of the Mongolian epic community.