Heroic Legend Research Articles

МЕНТАЛЬНАЯ ЛЕКСИКА В ТЕКСТЕ ХАКАССКОГО ГЕРОИЧЕСКОГО СКАЗАНИЯ «АЛБЫНЧЫ»

Our research is devoted to the identification and description of one of the fragments of the folklore-linguistic picture of the world – the semantic field of mental vocabulary based on the material of the Khakas heroic legend Albynchy. The interest in this linguistic representation of the characters' image stems from the principle of the anthropocentric paradigm, which represents the study of the inner world of a person, in particular, their psychological and mental functions. We understand a mental vocabulary as lexemes that not only name the process, the state of the subject, but contain elements of its description in their semantics and indicate the ethnic specifics of perception, understanding, cognition of the surrounding reality by an individual linguistic personality or the ethnolinguistic community as a whole. The purpose of the study is to identify and describe the semantic and functional structures of a mental vocabulary based on the material of the specified work of oral folk art. The tasks set to achieve this goal are related to the anthropocentric paradigm, i.e. the issues of revealing the human phenomenon through language. The relevance of the research is due to the insufficiency of research on the lexical system of the language of the Khakas heroic tales and the need to develop their linguistic and folklore paradigm as an independent scientific direction. The novelty of the research lies in the fact that mental vocabulary based on folklore material becomes the subject of special research for the first time. Based on the material of the Khakas heroic tale Albynchy the field of mental vocabulary turned out to be few. These include two basic verbs (сағын- ‘to think’, пiл- ‘to know’); verbal synonymous constructions; nouns – synonyms with the general meaning “mind, thought, reason” (ис, ағыл, сағыс), one cliched expression (ис ирт-, ағыл ас- ‘reason to pass by, lose your mind’), the phraseology of сағыс кiр- ‘the mind to enter’, describing the processes of mental activity and mental states of the characters. The study revealed that the semantic structures of these means of expressing mentality differ significantly from the contents of common-language dictionary variants, since the system of traditional folklore texts primarily reflect the ideological orientations and attitudes of the ethnic group. The conceptual basis of the set of mental representations is the categorical polarity of assessments: positive and negative in the absence of a neutral one. We see the prospects for the study of the language of heroic tales in deeper and more thorough developments of both individual lexical groupings and conceptual spheres, which contribute to the development of the Turkic interdisciplinary directions “folklore-linguistic picture of the world” and “linguofoloristics”.

Verbal representation of the emotional world of heroes: based on the material of the Khakass heroic legend «Албынҷы»

The language of the heroic tale is a complex system that encodes information about the national, ideological, cultural foundations of an ethnic group, and is significantly different from the literary and colloquial styles of the modern language. Despite the fact that the texts of heroic tales have always aroused the scientific interest of researchers, their linguistic categories have not yet received sufficient study. The purpose of our article is to identify and describe the linguistic (in particular, verbal) expression of the emotional world of heroes. The material for the functional-semantic analysis was the verbal vocabulary with the meaning of emotion, collected by continuous sampling from the text of the Khakass heroic legend «Албынҷы». According to our information, this folklore monument contains 19 verbs, 3 phraseological units and 1 clichéd expression representing the emotional world of epic characters. The small number of representatives of the emotional world of heroes is compensated by their ambiguity and, accordingly, their ability to cover all the necessary aspects of emotional activity. The work used descriptive (descriptiveanalytical) and functional-semantic research methods. The relevance of our research is due to the insufficient knowledge of the language of Khakass heroic tales, in particular, the verbal sphere from the perspective of the anthropocentric paradigm, as well as the small number of special works on this topic based on the material of other Turkic folklore texts. The novelty of the research is that for the first time, not only in Khakass, but also in other Turkic languages, verbs expressing the emotional experiences of heroes are considered as an irreplaceable and important fragment of the folk-linguistic picture of the world. During the analysis of linguistic material, it was revealed that epic heroes can experience the following emotions: anger, surprise, excitement, fear, compassion, shame, love (more precisely, dislike), suffering, grief, which are expressed by stylistically neutral, frequency verbs. And also the verbal vocabulary with the meaning of crying and laughter stands somewhat apart from them, since its content equally contains emotions and the physiological reaction of the subject to the corresponding emotional stimuli. Clichéd expressions and phraseological units also add shades of color and originality to the process of emotional activity. Linguistic folkloristics, as a new direction in Khakassian studies, is at the initial stage of its development. The language of Khakass heroic tales has many unstudied, unsolved, and therefore interesting conceptual fields in the lexical-semantic, functional-semantic, semantic-cognitive, linguocultural aspects. We believe that this topic has good linguistic potential and prospects for future research.

The Narrative Strategies in Albert Camus’ The Plague: A Metafictional Reading

The Plague by Albert Camus appears to be a biographical and traditional narrative, but in fact Camus employs various postmodern meta-fictional narrative strategies in his novel, such as overtly indicating the author's presence in the work, occasionally the author intrudes directly to make comments, revealing its artificial fiction; changing narrative perspectives; parodying traditional diaries and heroic legends; intertextuality, collage, etc., which, to a certain extent, demonstrate the literary characteristics of postmodernism: indeterminacy, anti-center, everything is nothingness, etc., and also subvert its narrative conventions, breaking our readers' expectations. This is to a certain extent the literary characteristics of postmodernism: anti-determinism, anti-center, everything is nothingness, etc. It also subverts its narrative rules and breaks our readers' reading expectations. Camus's use of meta-fictional narrative strategies reveals the postmodernism hidden in Camus, his view of the world of vanity, and the plight of contemporary human existence.

Reconfiguring a Chinese superhero through the dubbed versions of Monkey King: Hero is Back (2015)

The paper aims to investigate how a Chinese heroic legend was reconfigured for Western viewers through the English-dubbed versions of a case-study film, Monkey King: Hero is Back (2015). The ultimate goal of the study is to shed new light on how dubbing practice may better cater to Western target audiences. Based on two macrolevel translation theories, three translation models, and the two microlevel translation strategies, this paper discusses the most commonly used film translation strategies for English dubbing in the case-study film and their implications for the effectiveness of translation. The findings suggest that driven by the target-audience orientation, English-dubbing strategies often use standard language constrained by linguistic and cultural disparities as opposed to dynamic, adaptive Chinese dubbing.

Fairy tales of Indonesia and their formulas

This article dwells upon the study of the ethics and style of a fairy tale based on the material of Malay-Indonesian folklore. The purpose of our study is to analyze the poetic system of the Indonesian magic tale as a functionally organized unity of its components. In this article we considered the medial formulas of the fairy tale, which we subdivided into "external" and "internal", that is, formulas designed to arouse listeners' interest, and transitional (internal) formulas. These stable poetic structures (formulas) play a significant role in the compositional structure of a fairy tale, as well as in the characterization of fairy tale characters. The most important functions (actions) of the characters are marked with formulas. The scientific novelty of our study is that the work attempted to interpret the methodical methods of analysis developed by the outstanding folklorist V.Ya. Propp on the material of Russian folk tales, in the context of Indonesian magic tales. The folklore of the ethnic groups of Nusantara is characterized by a variety of ancient genres and types; it is a complex system of constantly interacting genres that has been formed over the centuries. It is composed of a kind of mythological and ritual poetry, monumental heroic epic, historical and heroic legends, folk lyrics and drama, various paremiological genres. In Uzbekistan, a special study of the elements of the poetics of the Indonesian fairy tale has not been carried out yet, as well as there is no methodology for conducting analysis. The question of the autochthonous nature of the plots of a fairy tale does not raise doubts among the majority of researchers of Indonesian and Malay folklore. The originally Indonesian character of the described geographical setting and the details of their life, ethnographic realities, the names of the characters - all this testifies to the fact that fairy tales are the fruit of the national culture of the peoples of the archipelago (Nusantra). When writing the work, the tales of the peoples of Nusantara in Indonesian, Malay and Russian, published throughout the XX century, were involved. Thus, this study is based on materials from the fairytale tradition of the peoples of Nusantara, as it appears to us throughout the past XX century. The completeness of such material and the legitimacy of its use for research does not have to be indicated - after all, at this stage, the Nusantar fairy tale retained the traditional plot composition, images of poetics.

Хакасский фольклор в записях В. В. Радлова и Н. Ф. Катанова

The paper addresses the 2nd and the 9th volumes of the series “Samples of Folk Literature of Turkic Tribes,” which include the records of V. V. Radlov and N. F. Katanov on Khakass folklore. The 2nd volume of “Samples” comprises 19 heroic tales, two historical legends, and 39 songs recorded by V. V. Radlov from the indigenous population of the Minusinsk and Achinsk districts of the Yenisei province during his scientific expedition in 1863. Khakass texts were published in Sagai, Koibal, Kachin, and Kyzyl dialects. In this study, heroic legends were divided into groups based on plot and theme. The most popular theme is the struggle of the hero against the raids of representatives of the lower world, the khans-conquerors. The second most frequent theme is family and kinship relations (betrayal of the hero’s sister or wife). The legend “Sunu Māttyr” recorded by V. V. Radlov is dedicated to the events of the 18th century. The 9th volume of “Samples” includes Abakan texts collected by N. F. Katanov, with the first section covering his gymnasium works of 1878–1884, the second presenting the expedition materials of 1889–1890, and the third dealing with the works of 1892. The recordings include works of all folklore genres. He was the first to record shamanic folklore of the Khakass. In the same territory where V. V. Radlov had been before, N. F. Katanov recorded texts in Sagai, Beltir, and Kachin dialects. His materials can be the basis for areal studies in the folklore of the Khakass people.

"ЭТО БЫЛ (НЕ)ПРАВИЛЬНЫЙ ОБЫЧАЙ": РИТУАЛ ПОДНЯТИЯ ЛЕВОЙ РУКИ В ТАНАТОЛОГИЧЕСКОМ ДИСКУРСЕ ЧЕРКЕСОВ ДИАСПОРЫ

The custom of raising the left hand has been preserved until recently in the thanatological practices of one of the Circassian diaspora communities in Turkey (Uzunyayla – Kayseri). According to the stereotypical narrative descriptions of the ritual, one of the groups arriving at the funeral slowly steps forward, taking three steps from the left foot, and slowly raises the left wrist to the level of the chin, temple, or crown. By raising his hand, the condolent publicly expresses the recognition of the social status of the deceased. According to informants, in the late 1980s, the custom was eradicated under the pressure from the Islamic clergy. Those who opposed its cessation understood this custom as a sacred one ‘brought from the ancestral homeland’ and bequeathed by Zhabagi Kazanoko (the folkloric and historical hero, philosopher, humanist and reformer of the 18th century). The idea of “reviving” the ritual was initiated during the pandemic, when mass gatherings and physical contacts (handshakes and embraces, which are common in ordinary funeral practices) were prohibited. In particular, in relation to the Day of Remembrance of the Victims of the Caucasian War (celebrated by the Circassian community annually on May 21), it was proposed to hold an online campaign for posting photos with a raised left hand. The explicit and hidden strategies of actualizing the ritual of raising the left hand as “our own”, “the primordial” and ‘undeservedly forgotten one’ are analyzed in this work on the material of the texts of classical folklore (heroic legends) and memoranda recorded by the author during fieldwork, as well as posts on the social media. The main aim of the research is to show how the bearers of the tradition reproduce (verbally and visually) the stable and changeable structures of a narrative / a ritual under the influence of certain ideological dominants.

Publications of Altai Fairy Tales and Heroic Legends in Context of Construction of 1920—1980s Soviet Politics of Memory

The issue of Altai fairy tales and heroic legends in the context of the 1920—1980s Soviet politics of memory is considered. Attention is paid to the participation of carriers of folklore traditions, folklorists, translators, writers, poets and editors in the creation of collections of Altai fairy tales. The specificity of their activities at different historical stages is characterized. The relevance of the study is due to the growing scientific and public interest in oral folk art in connection with the formation and development of the cultural memory of the peoples of Russia as the basis of social identities. The novelty of the research is seen in the fact that the publication of editions of Altai folk tales and heroic legends, collected, processed and published in Soviet times, is considered as a means of forming the cultural memory of Altai and other peoples of our country about the historical past of Altai Mountains. The authors note that Altai fairy tales, the publications of which have experienced a serious impact of the state politics of memory, have become the property of book culture rather than a living tradition of oral folk art. It is shown that in the late Soviet and early post-Soviet periods, book editions of fairy tales in the mass consciousness began to be perceived as a significant source for the interpretation of the historical past of the Altai ethnos.

СЕМАНТИЧЕСКИЕ ТИПЫ КАУЗАТИВНЫХ ГЛАГОЛОВ В ТЕКСТАХ ХАКАССКИХ ГЕРОИЧЕСКИХ СКАЗАНИЙ

Рассматриваются семантические типы каузативных глаголов хакасского языка, нашедшие отражение в текстах хакасских героических сказаний «Алтын Арыг» и «Ах Чибек Арыг», записанных от популярного народного сказителя Хакасии С. П. Кадышева (1885–1977), «Ай Хуучын» и «Айдолай», записанных от сказителя П. В. Курбижекова (1910–1966), «Хара Хусхун», записанного от сказителя П. В. Тоданова. Актуальность данного исследования связана с тем, что каузативные глаголы активны в употреблении и представляют большой интерес для исследователей-лингвистов. Необходимость изучения семантических типов каузативных глаголов в текстах хакасских героических сказаний вызвана неразработанностью данного вопроса на сегодняшний день, чем и определяется новизна исследования. Целью статьи является выявление семантики и функционирования каузативных глаголов в текстах хакасских героических сказаний. В задачи исследования входит выявление всех каузативных глаголов, встречающихся в текстах героических сказаний; определение и анализ каузативных аффиксов, участвующих в образовании каузативных глаголов; выявление словообразовательных моделей каузативных глаголов, представленных в текстах героических сказаний. Анализ фактического материала проводился с использованием комплекса лингвистических методов и приемов. Наиболее перспективным при решении поставленных задач были признаны метод сплошной выборки примеров, предусматривающий подбор примеров для анализа и выписывание из текстов героических сказаний подряд всех встречающихся в нём примеров анализируемого типа, описательный метод для выявления каузативных глаголов и их последовательного описания с точки зрения их структуры и функционирования. Метод дистрибутивного анализа позволил выявить валентность каузативного глагола. В результате исследования выявлены и проанализированы семантические типы каузативных глаголов, а именно, фактитивный, пермиссивный и фактитивно-рефлексивный, пермиссивно-рефлексивный типы; определены актуальные для языка героического эпоса словообразовательные модели каузативных глаголов. Для глаголов с фактитивной семантикой выявлено пять словообразовательных моделей; для пермиссивной – три модели; фактитивно-рефлексивный и пермиссивно-рефлексивный по одной модели. Исследование также показало, что в текстах хакасских героических сказаний часто используется двойной каузатив, который выражает как фактитивное, так и пермиссивное значение. Полученные результаты могут найти применение при чтении лекционных курсов по хакасскому языку на филологических факультетах вузов, при составлении учебных и учебно-методических пособий, словарей. В перспективе интересные результаты могут дать исследования каузативных конструкций, характерных для текстов героических сказаний, в сопоставительном и сравнительно-типологическом освещении.

ЗОЛОТО В ПОЭТИКЕ АЛТАЙСКОГО ФОЛЬКЛОРА (на материале мифов, легенд, сказаний, сказок и загадок)

В статье впервые на материале алтайского фольклора рассматривается мифопоэтическая символика золота как важного элемента металлического кода языка и культуры алтайцев. Актуальность исследования обусловлена неизученностью мифопоэтической символики наименований металлов в алтайской лингвокультуре. Целью статьи является выявление символики золота в фольклоре алтайцев. Материалом исследования послужили разножанровые тексты алтайского фольклора: сказания, сказки, мифы, легенды, загадки, пословицы. Анализ показал, что лексема алтын ‘золотой’ используется для обозначения признаков строений, различных предметов быта, утвари, конского и воинского снаряжения, одежды и украшений, необычных, духовных животных, птиц, человека, географических объектов, а также употребляется в составе личных имен. Автор приходит к выводу, что благодаря своей материальной и эстетической ценности, образ золота получает широкое символическое значение в алтайской мифологии. С применением структурно-семантического метода на основе контекстуального анализа выявлены 3 основные мифологемы, вокруг которых группируется символические употребления лексемы алтын ‘золотой’: «золото как символ Верхнего мира», «золото как признак сверхъестественных предметов и сущностей» и «золото как символ богатства». Признак ‘золотой’ выступает атрибутом небесных светил, мира светлых божеств. Золото соответствует дневному светилу, т. е. солнцу, серебро – ночному, т. е. луне. Золото в большей степени мужской металл, а серебро – женский. Составляя бинарную оппозицию с железом, золото соотносится с символами Верхнего мира, а железо – с символами Нижнего мира. Золото выступает и признаком предметов волшебства и мифических сущностей Нижнего мира. Волшебные предметы, сделанные из золота, обладают магической и целительской силой. Золото является эквивалентом денег, мерилом силы, власти, богатства, и с ним связаны представления о достоинстве, превосходстве, величии, совершенстве. Исследование символики других наименований металлов представляется перспективным для понимания металлического кода алтайской лингвокультуры.

The Snake and Its Chthonic Essence in Traditional Beliefs, Language and Folklore of the Khakass

Purpose. The aim of the study is to characterize the image of the snake as a chthonic creature in Khakass culture. Based on the goal, the following tasks were set: to analyze folklore and ethnographic information of these people and identify the key components of this mythological creature, to discover the semantic connections of its image with natural objects and elements, as well as with the idea of death. The work is based on the analysis of a wide range of sources. For the first time, it introduces field ethnographic and archival folklore materials, as well as author translations from Khakas into Russian of excerpts from heroic legends – alyptyg nymykhtar, proverbs and sayings related to the topic under consideration. Particular attention is paid to the lexical analysis of the myth-ritual complex related to the image of the snake. Results. As a result of the analysis, the following conclusions can be drawn: 1) the image of a snake was widespread in Khakass culture. This reptile was endowed with sacred attributes. In this connection, its image was widely used in language, folklore, and ritual practice; 2) the formation of characteristic features of the mythological image of this reptile was influenced by its biological nature, first of all, the morphology of its body, behavior, lifestyle, way of hunting, and, of course – the environment; 3) with all the variety of symbolic characteristics of this reptile, the key is its perception, as a chthonic creature. It was closely associated with the cult of natural objects, in particular with respect for the land. Its deep connection with the underworld is revealed; 4) in religious and mythological consciousness of the Khakass, this reptile acts as an inhabitant of the world of the dead, and is also a harbinger of death, and often its personification; 5) in mythological consciousness, the projection of its zoological features was expressed mainly in endowing its image with features such as agility, cunningness and greed, which was reflected in phraseological units.

Легенди в історичному романі Пантелеймона Куліша «Черная рада. Хроника 1663 года»

The article examines legends are functioning in the Russian-language novel by P. Kulish “Black Council. Chronicle of 1663”. The features of the genre have been determined. It is proved that folk legends emphasize the artistic action of the text in question, give it a touch of mythology. It was found that the legends in the Russian-language novel by P. Kulish “Black Council. Chronicle of 1663” appear in the form of artistic inclusions, which in turn emphasize the historical meaning of the work. The synthetic unity of legend and historical narrative emphasizes the content of the novel, gives it signs of metatextuality. Artistic inclusions of legends in the “Black Council. Chronicle of 1663” presents the author's vision of history. The proposed study examines mythological, apocryphal and historical-heroic legends using the example of a little-known historical work of the author. Mythological legends arose earlier than other types of legends. They were based mainly on pagan traditions, which eventually got lost and left the remnants of ancient ideological thinking. Mythological legends are represented in the Russian-language novel “Black Council” by the stories about the mysterious people of the "dancer", the legend about the fabulous betrothed Lesya and the legend about the Cossack character. The novel by P. Kulish also represents apocryphal legends, the content of which is marked by the reproduction of characters and events from the sacred history, devoid of signs of canonicity. Apocryphal legends in the work under consideration is the legends about Archbishop John and the devil. It also contains a legend that combines the features of both apocryphal and mythological legends – a narrative about the origin of the “Cossack sun”. In the text “Black Council. Chronicles of 1663” by P. Kulish, there is also a historical and heroic legend, which is characterized by a more realistic reproduction of events. An example of a historical and heroic legend in the novel is the legend “Khmelnitsky and Barabash”. Its plot is well known. It coincides with the plot of the folklore Duma of the same name. However, in the interpretation of Kulish, the emphasis is mainly put on such artistic details as Barabash's ring. The proposed article proves that folk legends are informative material for studying of the past, P. Kulish's worldview beliefs, and his reproduction of the historical process.

Sleeping Ships and Their War Anchors: The Naval Origin of Greek Architecture and Sculpture

The many surprising features of Ancient Greek temples become natural if we interpret that temples originate in real warships, not metaphoric ones, overturned and stored upon supports; there are enough ethnographic parallels for such a practice. As well as certain references in literary sources and in vocabulary, the definitive argument that supports this claim is the comparison between penteconters from the Geometric period and Doric and Ionic temples: the shape of the whole entablature, the window aspect of metopes, the shields hanging on the architrave, the longitudinal light curvature, the size of the temples and the distribution of their interior, its axial symmetry, the creation of peristasis, the number and distribution of columns, the entasis, the placement of sculptures and the main worship statue, etc. The principal statue comes from the sacred anchor, which would be used as a projectile in the naval battles in the Aegean Sea for centuries before the invention of the ram; this practice can be traced in many heroic legends. Greek temples are more than buildings: they are sculptures in stone of beached ships which proclaim the Greeks’ familiarity with the sea and their mastery of it. In other words, their thalassocracy.

Осевая нарратологическая категория в исторической перспективе

The article examines narrative strategies in their historical dynamics. It singles out the so-called narrative worldview and the ethos of narrativity as basic parameters of a narrative strategy. Heroic legends and fairy tales inherited a precedent worldview and the ethos of peace from mythology. The post-mythological development of religious consciousness leads to a narrative strategy of the parable type that implies an imperative world model and prescriptive ethos, as implemented, for example, in the Old Testament. The narrative strategy of the New Testament stands out due to the constructive combination of the precedent worldview and a fundamentally new ethos of personal solidarity. The practice of telling jokes and ancient Greek adventure novels develop a circumstantial world model and the ethos of self-realization. Finally, the classic novel explores the probabilistic worldview and becomes a basis of several new narrative strategies that vary in their ethos.

Баран в традиционной хакасской обрядности детского цикла (конец XIX – середина XX века)

Domestic animals, including rams/sheep, always formed the basis of the economy and traditional rituals of the Khakas. This reality is reflected in the folklore and ritual practice of these people. Along with this, note that, in the Khakas ethnography, the ram/sheep and its image was never as a special subject of scientific research. This testifies to the novelty of the provided work. The purpose of this article is to determine the function of the ram in the Khakas rituals associated with the children’s cycle. The chronological framework of the study is limited to the framework of the late 19th to mid-20th centuries. The research is based on ethnographic and folklore sources. The folklore materials used in the work include excerpts from heroic legends (alypty nymakhtar) in the author’s translation into Russian, and archival ethnographic information is also introduced into scientific circulation for the first time. The study made it possible to identify and analyze the place and role of the ram in the ritual practice of the Khakas people associated with childhood. It was determined that the animal in question had a great economic value and was in extreme demand in many areas of human life. It was widely used as food and material for making clothes, beds, etc. It was revealed that the sacral function of the animal was expressed in endowing it with protective properties. The image of a ram and individual parts of its body were used as a popular amulet and a symbol of fertility. All this contributed to endowing the ram with a high semiotic status. In this connection, it was widely involved in the rituals associated with the children’s cycle: birth, naming, etc. It is shown that it was a widespread subject of gift exchange processes, both within the human community and in relationships with the world of spirits.

Глагольные аналитические конструкции в тувинском фольклоре: специфика фонетических трансформаций

The study compared the processes of loss of analyticity by three-verb adverbial participle analytical constructions in two manifestations of the verbal culture of the ethnic group: the language of Tuvan fiction and sounding folklore texts. This comparison revealed their active progress along the path of synthesis and fairly strong positions of analyticity. The complete loss of the external interword pause in the sound envelopes of the constructions in question indicates the active development of constructions along the path of the loss of analyticity. Nevertheless, the preservation in most examples of a strong intersyllable pause as a vestige of the external interword pause indicates the incompleteness of phonetic transformation processes of these constructions. The tendency for three-verb adverbial participle analytical constructions to become synthesized in the Tuvan folklore language, with one marker being the ellipsis of the adverbial indicator -p, is realized with different dynamics in the main verbs and auxiliary verbs. The main verb in the composition of the constructions analyzed tends to preserve relative independence (phonetic, grammatical, lexical), while auxiliary verbs undergo complete or partial desemantization, i.e., they lose their morphological status and sound fragments. The dynamic weakening of the positions of speech pause in the delimitative function in the language of heroic legends is compensated by the stability of the adverbial formant -p of the main verb. The innovative processes of transformation are constrained by the trend towards stability, formulaicity, conservatism, being typical of the epic folklore tradition.

Миф о рождении Гесера в мир (сравнительный анализ с текстом «Рамаяны» и биографией Будды)

All the chapters of the Mongolian “Geser” contain the theme of the hero’s birth the structure of which consists of several narrative elements: Khormusta sends one of his sons to the Earth in order to save the living beings; the prophesy about Geser’s birth is made at the foot of “obo” on the Earth; the immaculate conception and the uncommon birth of the hero. The same narrative elements are used in the birth of the hero’s subject in Tibetan “Geser”. There are doubtless similarities in the pattern of hero’s birth both in Tibetan and Mongolian eposes, however, there are visible differences. In these epic texts there are topics common to all heroic legends: childless elderly parents, begging a child from gods, an immaculate conception and an unusual birth of the hero. The same structure is used in the birth of the hero in the Indian “Ramayana”, however, the content has its distinct peculiarity. The analysis of the biography of Buddha showed that in the topic of Buddha’s birth the same narrative elements are used. The study gives a comparative analysis of the content of the hero’s birth in Mongolian “Geser”, Tibetan “Geser”, Idian “Ramayana” and the Buddha Shakyamuni’s biography.

Алтайн «Жангар»-ын уламлжлалын тухай болон түүний холбогдох зарим асуудлууд (= О традиции «Джангара» у алтайских народов)

Altai heroic legends represent a specific and multiphase phenomenon among which «Jаҥар» takes a rightful place. The researchers of “Jangar” are aware of the fact that in one form or another “Jangar” existed not only among Oirats of China and Mongolia, Kalmyks of Russia but also among Turkic-origin Tuvinians, Altaians and Sart-Kalmyks. However, apart from publications on this theme, the texts of these stories were not published. One of the interesting problems of the contemporary Epos Studies is the tradition of existence and masterly performance of Altai «Jаҥар». It is a well-known fact that the story was recorded by T. B. Shinzhin during 1977–1980 from the talented Altai storyteller-kaichi N. K. Yalatov. The text of Altai «Jаҥар» consists of three volumes. However, there is no academic translation of the text into Mongolian or Russian. The article gives analysis of the history of recording and study of the epos and briefly highlights the storyline. The storyline despite its volume maintains logical sequence, integrity of narration and completeness of the narrative. The main storyline is the fight of the upper and lower worlds. There is a need for comparative analysis with the chapters of the Oirat “Jangar”. This will allow us to determine whether the Altai legend is one of the variants of “Jangar”, is an independent epic creation or is its archaic primary source. The translation of «Jаҥар» into Mongolian and Russian will enable to introduce the story into the world Epos Studies.

“TANGYRA” OF MIKHAIL ATAMANOV AND “YUGORNO” OF ANATOLIY SPIRIDONOV: COMPARATIVE AND TYPOLOGICAL ASPECT

The article examines the artistic and aesthetic parallels in the Mari epic “Yugorno” and the Udmurt “Tangyra” - the heroic legends of the peoples of the Finno-Ugric world. The idea is that the poetic commonality between them is a consequence of folklore and cultural typology and historical connection. The similarity of motives and plots is manifested in the pantheon, in views on the world order, in the nature of the relationship between gods and people, in the types of characters. By their poetic nature “Tangyra” and “Yugorno” occupy a place among the classical European epics, with which they are brought together by themes, socio-cultural status of heroes (cultural and social demiurges), views on the ancestors, descriptions of clashes between princes as representatives of the highest level and relations with neighboring peoples, philosophical views of the Udmurts and Mari on the past, present and future. It is about the main differences between the epics “Yugorno” and “Tangyra”, which lie in the peculiarities of plots and composition, poetics and aesthetics of works, their ethnic philosophy and social utopia.

Лингвистические особенности текстов эвенкийских эпических героических сказаний

The research objective involves identifying linguistic peculiarities of the Evenk epic texts. Scientific originality of the paper lies in the fact that the author for the first time provides a comprehensive linguistic analysis of epic texts at different language levels. The study is conducted by the material of the Evenk folklore, which has not been previously investigated. The following conclusions are justified: the Evenk epic text contains stylistically neutral vocabulary, the language of narration is simple, tropes are absent. The findings indicate that alliteration and assonance are among the most frequent phonetic means in the epic legend. Verbs prevail in the epic text, and it makes the story more dynamic. The syntax of a heroic legend is characterized by the use of simple asyndetic sentences.