Abstract
The article continues the series of materials devoted to the problem of reincarnation in the traditional culture of the Ob Ugrians (“Finno-Ugric World”, “Bulletin of Ugric Studies” (2014–2018). The theme of reincarnation of the human soul is directly related to the question about the vital forces and their carriers. In traditional practices for determination whose “soul” reincarnated, the leading ones were the traditional divination and prediction of dreams, but also the attention was paid to the internal (character, preferences, etc.) and the external likeliness of a children to the reincarnated ancestor. It is not main, but very important parameter, confirming the correctness of the definition of the reborn “soul”. Part of the mythical traditions of the Khanty and Mansi is the so-called “bodily” magic, where special attention is paid to the bones (skeleton) as the basis of the human body. According to the bone structure, people could determine the fate and qualities of a person. Special attention was paid to the spine (or to the back), because the vitality of the human body depended on its strength. The safety and integrity of the skeleton was considered an important condition for subsequent reincarnation. Echoes of ancient beliefs can be found in the mythological texts about the ancestors and customs related to the bear cult. Relationship between the ideas about the bones with the worship of ancestral guardian spirits is universal. At the same time among the Ob Ugrians bones are also associated with stones. It explains sacralization of natural stone objects, in which “heroes of the past” have “turned”; a stone has generative, protective and deadly functions. The identity of bone and stone can be seen in folklore texts about heroes or miraculous arrows (bone and stone), which appear from the miracle stones, and these arrows are used by the heroes to defeat the supernatural creatures. Metal in its sacred functions is close to bone and stone. Metal products also symboliz a magical protection, ancestral spirits and the human soul (needle, knife, arrow tip).
Highlights
The article deals with artistic bilingualism which is interpreted as the creative use of two languages in creating works of literature based on precise understanding of the specific features of semantic and pragmatic potential of these languages
The modern differentiation of the Erzya dialects in the Volga region and the Southern Urals is the result of a long historical development
The fact that in these regions the Erzya lived isolated from the rest of the Mordovians and contacted directly with peoples having different patterns of language contributed to preserving archaic phenomena of the base language and appearing innovative components in the structure of the dialects under study
Summary
Данный прием акцентирует внимание на ключевых словах стихотворного текста, реализуя прежде всего эмоциональную, декоративную и эмфатическую функции языка. В этом контексте важно подчеркнуть, что поэт использует две традиции написания удмуртских слов/фраз – кириллицей и латиницей: а) чаще всего применяется литературная форма удмуртского языка с его кириллической графикой: лымы тӧдьы белый снег осыпает кругозор мы – медведи дело – в сне мы – орнамент мы – узор Характеризуя лирического героя, автор подчеркивает: еvel viz'mo ‘не умный, evel zador ‘не задорный, но сheber ‘красивыйи motor ‘эффектный. Kalyke, возрождать karono, Всё это прекрасно, блин, но. Но я сам не владею родным языком, Я его не впитал с молоком; в) автором допускается осознанное искажение правил написания отдельных лексем, чаще всего отсылающее к явлениям удмуртско-русской языковой интерференции: ныллёс (вместо нылъёс) чик ӧвӧл четлык чыртывещ (вместо чыртывесь) ныллёс чик ӧвӧл умой умоещ (вместо умоесь) Ста, который может проявляться на внешнем (в случае написания графической единицы буквами второго алфавита) и внутреннем, смысловом уровне лексемы
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