Features of the olonkho "Duguya Bege" (towards the formulation of a comprehensive study)

Abstract

In the context of the introduction of post–non-classical paradigms in the study of oral folk art, it seems timely to turn to one of the brightest examples of folk art of the northern local tradition - the text of olonkho "Duguya Bege", highly appreciated at one time from a scholarly point of view by folklorists S. I. Bolo, V. M. Nikiforov, historian A. P. Okladnikov. The novelty of this study lies in an attempt to identify the ways of further research of the text of this peculiar olonkho, as well as the map of the epic universe attached to it, containing valuable information about historical, ethnographic, toponymic and hydronymic facts. The purpose of this article is to highlight the features of the linguistic fabric, structure, semantics, semiotics of the olonkho "Duguya Bege" and to identify the vector of a comprehensive discussion of problems in its research. The work implements a historical approach, uses methods of review, hermeneutics, generalization, structural and functional analyses. The author dwells on the description of the structural organization, some semantic features, the specifics of the image system, the saturation of the sign system, the originality of the linguistic fabric, the variety of applications of artistic and visual means, genre relationships in the studied olonkho. It is reported that the observation of elements of sarcasm, humor and other forms of comic in the text may indicate the former existence and development of national satire in the Oymyakon tradition. The author comes to the conclusion about the need for a comprehensive study of the text and the epic map of the olonkho world model "Duguya Bege" from the perspective of knowledge and methods of other sciences – history, ethnography, linguistics, geography, semiotics, mythology, which indicates the prospects for further work with this multilevel and multidimensional epic text.