Mythological Ideas Research Articles

ФЛОРОНИМЫ В ЛИРИКЕ С. А. ЕСЕНИНА

The lexemes of the thematic group «Nominations of the plant world» are very common in the poetry of S. A. Yesenin, which determines the significance of this thematic component for the author. The article attempts to classify and analyze the floronyms selected from the lyrical poems of the poet in volume 1 of the complete works. The purpose of this article is to analyze the frequency and features of using floronyms in lyrics, as well as to trace the patterns of development of S. A. Yesenin's idiostyle. The paper shows the use of lexemes from the following subgroups: names of trees, shrubs, flowers, herbs, grains and vegetables. Their main functions in the poetic text are to create a landscape, with floronyms most often evoking memories of one's native land, as well as to portray the lyrical hero's inner suffering. The central image of nature – the birch tree – had a direct true connection with the poet's homeland, and the whole of Russia was «birch-like» for S.A. Yesenin. Yesenin's birch tree becomes the "heroine" of most of his poems as a symbol of love for his country, his homeland, his father's home. The peculiarities of word usage, such as metaphorical transfer of meanings, artistic personification, violation of lexical compatibility, create the individual style of the poet Sergey Yesenin. In addition, the use of lexemes of this thematic group shows the poet's closeness to nature and people, the mythological ideas of herbs and trees from his childhood, folklore traditions representing the Russian nature and soul, which expands our understanding of the linguistic and poetic picture of S. Yesenin's world.

Лексикологический комментарий к баснословным достопримечательностям России, в особенности Сибири

The paper deals with the peculiarities of the “Siberian” text of Russian and world literature in the aspect of diachrony. The author provides lexicological comments to some of the data on the natural history of Russia attached to the “Grammatica Russica” by G. V. Ludolph (1696), including many of the sights of Muscovy from the flora or fauna, minerals, ores, trade items, and so on. Among others, the Chinese medicine Temzui is mentioned, the etymology discussed in the first part of the paper. However, the focus of the first part is on the two fossil objects described by Ludolph, namely, Adamovoi kost ‘Adam’s bone’ (essentially, fossil wood) and Mammontovoi kost ‘mammoth bone’, that is, the bones or “horns” of a mammoth. In this context, the author considers the origin of Even adām ‘coal’, Yakut Adām uota ‘fire wiped out of wood’ (cf. Russian dial. derev’annyi ogon’, literally ‘wooden fire’), Russian mamont, indrik, inder, endar’ ‘fabulous beast’ and others. It is especially noted that the biblical etymology of the mammoth (from the name of the behemoth), appeared in the 18th century, finally was rejected only in the 20th century. Information is given about the typology of the mammoth designations against the background of mythological ideas about mammoth among the peoples of Siberia. The second part of the paper deals with the origin of some facts absent in Ludolph’s work: three Russian (in Siberian dialects), Yakut, and other names of people of a fantastic type (headless, etc.): miravda, chuchuna, myulen.

Ударные инструменты айнов

Ainu people are the indigenous inhabitants of Sakhalin, the Kuril Islands, and Hokkaido. This work aimed to study Russian and Japanese museum funds, analyze musical transcripts performed by the author, and review Russian and Japanese academic literature. The article deals with the percussion musical and sound instruments of the Ainu – idiophones and membranophones. The term “sound instrument” refers to archaic sound instruments that were not usually perceived as musical. They were considered as such only at the moment of their sounding. The author pays special attention to poorly studied instruments, such as a sonic log, sticks, a board, a lacquered barrel lid, rattles, bells, a shaman tambourine, and a beater. The article analyzes the etymology of the names of instruments, structure, material of manufacture, techniques of playing. Most of the Ainu tools were made of wood and had a simple design. Percussion instruments are multifunctional. On the one hand, they performed a musical function – they rhythmically organized a song or recitation. They sounded during the performance of epic legends, various songs. On the other hand, instruments were sacred objects. The author traces their close connection with the worldview, mythological ideas of the ancient people. All of them were associated with the ritual practice: they were used in shamanic rituals, bear holidays, magic actions. Their sounding was thought to provide communication with the spirit world.

Словесно-поэтический репертуар башкирской свадьбы: прошлое и настоящее

Introduction. Bashkir wedding is one of the most striking forms of traditional culture. Over centuries of evolution, a complex set of ideological and functional related ritual songs, actions, myths and rituals has formed as an integral festive and theatrical performance. This surprisingly unique performance (drama) reflects the worldview of the people, their poetic and musical culture, including peculiarities of social, everyday and social development. The ideology of caring for the welfare of the family and happy family future has been developed and vividly captured in the wedding rituals. Genotypic plans for the continuation of life, creating a sustainable family in order to ensure continuity and fertility of the new family member ― sister–in–law ― is a major determining code of the Bashkir wedding manifested in the complicated mytho-ritual complex tui (wedding, feast). In it, a large role is given to verbal and song contests (Bash. әйтеш), lamentations (сеңләү), good wishes (теләк, алғыш), ‘yar-yar’ chants, magnificence and farewell songs (takmaks) which are organically woven into the course of the wedding to create a festive atmosphere, give special importance to everything that happens. These work of art have various and rather complex functions, since they not only accompany various moments of the wedding celebration, but also reflect ancient mythological ideas, belief in the power of words and actions. The verbal, song and action creative complex acts as a single syncretic whole with what is happening. Goals. The article examines the role of verbal and poetic works in various parts of the wedding ceremony. They are distinguished by a variety of texts and tunes dedicated to various moments of the wedding and ritual actions addressed to the bride and groom (mostly). Results. The ritual of good wishes goes back to the magic of a kind word, which in general in all types of rituals involves the structuring of events in the name of blessings and the consolidation of a happy future. The article traces the reflection of the emotional state of the bride in various poetic texts, which determines the importance of the moment of the girl’s transition to a qualitatively different state of marriage; the importance of the special semantic load of the songs of the Bashkir wedding for the future family life is noted. In all cultures, edification, parting words generalize the prescriptions and rules of behavior for young people. There are two main places of well-wishes in the wedding drama: in front of the wires from the father’s house (girdling) and in the groom’s house (opening the face). Good wishes and edifications, pronounced in the rites of transitional meaning, represent a kind of collection of etiquette, everyday life and traditions of the people. This is the poeticized wisdom and life experience of people who want the well-being of a girl who goes into a ‘foreign’ environment. In a Bashkir wedding, songs of a greatness, entertaining or humorous nature are performed, which are organically included in the drama of the wedding action and become an integral part of the ceremony as a whole.

Lullaby Songs and Their Role in the Context of Traditional Culture

The genre of the lullaby is important in traditional culture. Despite the fact that many songs related to the cycle of family and ritual folklore have ceased to function, lullabies do not lose their relevance. The purpose of lullabies in modern practice has a more practical application, but in traditional culture, their role was much greater than lulling a child. The study of the relationship between the components of the lullaby and the separation of their ethnic identity is an urgent task that helps to understand the specifics of traditional culture.The purpose of the article is to study the specifics of lullabies and their role in the context of traditional culture.The research methodology is based on a cultural-historical and musical-analytical approach. In this study, the cultural-historical approach is used to identify socio-cultural conditions in which domestic folk genres are formed. Much attention is paid to the semantic level of analysis of the verbal text of lullabies, which reveals the specifics of ancestral beliefs, the relationship of the text with the functional purpose of these songs. The musical-analytical approach makes it possible to explore and compare certain common intonations, rhythmic characteristics in lullabies that exist in different cultures.Conclusions. Lullabies are a form of broadcasting the experience of many generations. Analysis of their specificity allows us to talk about the similarity of musical characteristics of this folk genre, which relate to different ethnic cultures – a small ambition, downward movement, and repetition of one intonation and the choice of rhythmic patterns that reproduce the specifics of rocking. The content of lullabies reflects the peculiarities of ancestral beliefs. On the example of lullabies, common in European culture, we can note a combination of elements of the Christian religion and mythological ideas. Lullabies have certain stable components that are associated with calming the baby and wanting to lull him. However, there are a number of differences, in particular in the verbal text, which reproduces the specifics of socio-cultural conditions in which they were formed. Functions of lullabies include communicative, social and magical. Each element of the lullaby verbal text has a deep symbolic meaning and is aimed at raising a child, attracting certain spiritual forces, promoting his/her health and ensuring his/her happy fate.

EXPRESSION OF IM EXPRESSION OF IMAGES REL GES RELATED TO NATIONAL TRADI AL TRADITIONS IN A.NAVOI'S WORK

Background. It is known that the customs, traditions, material and spiritual riches of the Turkic peoples belong to the great poet A. Thanks to Navoi's sharp intellect and artistic thinking; it has become an immortal property of our spirituality. Therefore, the creative heritage of the great poet is important not only as a work of art, but also as a unique historical and ethnographic source of culture of life of the Turkic peoples, including the Uzbek nation. This article examines the works of Alisher Navoi, depicting the way of life, culture, socio-political, theological and mystical worldview of the Turkic peoples, and even the ancient mythological ideas and some of the customs and rituals associated with them. The traditions of the poet's lyrical, lyre-epic works are an important source for studying the history and spiritual world of the Turkic peoples. Methods. In the article A. In order to clarify the place of folk traditions in Navoi's lyrical heritage, comparative-typological, analytical methods were used. Results. In the works of Alisher Navoi, a special place is given to the depiction and interpretation of plates related to the way of life, culture, socio-political, divine and mystical worldview of the Turkic peoples, and even ancient mythological notions and some customs and rituals associated with them. Such works of art, which are recorded as "ethnographic folklorisms", have played an important role in enhancing the national and realistic spirit of the poet's works, their artistic impact. Conclusion. Navoi's works contain valuable artistic details related to the way of life and customs of the people, which can provide important information in the study of the history of life of the people of that period.

The formation of human rights and freedoms in the teachings of philosophers of ancient Greece and Rome

The formation of human rights and freedoms in the teachings of philosophers of ancient Greece and Rome

Traditional Buryat Beliefs About Birds

This study, based on ethnographic, linguistic, and folk materials, describes and interprets Buryat ideas of birds. The analysis of lexical data reveals the principal groups of birds according to the Buryat folk classification. The bat’s status is indistinct, since bats are not subordinate to the kings of the animal world. Diagnostic criteria underlying the classification of birds are outlined. The main criterion was whether a bird was beneficial or harmful. Ornithomorphic images in Buryat mythology, folklore, and ritual are described. Cult birds and bird totems are listed, and relics of local bird cults (those relating to swan, goose, duck, pigeon, and eagle) are revealed. Birds with positive connotations are the swan, crane, swallow, pigeon, eagle, and eagle-owl. Those with negative connotation are the kite, raven, crow, quail, cuckoo, and hoopoe). The attitude toward ducks, hawks, magpies, and jackdaws is ambivalent. Certain birds (ducks and ravens) were related to cosmogonic ideas; others (swan, goose, eagle, etc.) were endowed with a werewolf capability. The raven, the cuckoo, and the hoopoe symbolized natural cycles, whereas the magpie and the quail were associated with the soul. The role of bird images in the mytho-ritual practices is discussed. The Buryat mythological ideas reflected not only specific ethnic views of certain birds, but also universal ones.

Mythopoetics of ancient epics of turkic peoples

This article deals with the research on dastans, the oral lore of the epic genre of Turkic peoples, featuring daunting stories and rich ethnographic details. Interestingly, the voluminous epic monuments belong to the common cultural heritage of different groups of kindred Turkic peoples: Tatars, Kazakhs, Bashkirs, Nogai, Uzbeks, Azerbaijanis, Turkmens, and others. We analyzed the epic-dastans, widespread and preserved until now in many Turkic nations, including the Tatars and Kazakhs, to identify their mythological attributes and behavioral formulas in the image of their heroes. We have noticed that the heroes of the analyzed dastans act in a "mythological space" and reflect "mythological consciousness." There, ancient mythological ideas of the Turkic nations about the world intervene with the ideas created later under the influence of Islam. By analyzing the behavior and deeds of the heroes of epic-dastans, such as "Er Tishlik", "Alpamysh Batyr", "Edige Batyr", "Koroghly", inherent in both the Kazakh and Tatar nations, we managed to find common features between the epic and mythological heroes, made a number of conclusions regarding their behavioral nature and the continuity of the mythological and artistic systems of the Turkic peoples' thought. Starting with the ancient epic and ending with the heroic dastans of the Turks, their themes and motifs in varying degrees are related to the mythological chronotype. Scientists, who devoted their scientific works to epics research, note the presence of the mythological layer in them. The mythological motif can be most expressly traced in more ancient epics, which denoted the beginning of the ancient Turkic folklore genres' development. Since the second half of the XIX century, the scientist recorded numerous folklore works of Turkic nations, told by their bearers during long scientific expeditions across Altai, Tuva, Khakassia, Shoria, Southern Siberia, East Kazakhstan, Kyrgyzstan, Uzbekistan, Northern Mongolia, and other territories of the Turkic nations' residence.

Solon’s poetry in light of comparative-historical linguistics

The subject of this research is the heritage of Indo-European poetics in works of the Ancient Greek poet Solon. The object of this research is the elegies and fragments of his hexametric oeuvres. The authors examine such aspects of the topic as: 1) retention in Solon’s poetry of the structures similar to exposition of hymns in Ancient Greek and Ancient Indian traditions; 2) preservation of stylistic figures widely represented in the poetry of ancient Indo-European peoples; 3) preservation of poetic expressions and mythological ideas that may date back to Indo-European times. For achieving the set goals, the author employ the methods of text hermeneutics, semantic analysis, and comparative-historical linguistics. The following conclusions are made: in the corpus of Solon’s texts there are fragments very similar to expositions of hymns in the Ancient Greek and Vedic traditions; Solon’s poetry contains stylistic approaches that can be reconstructed to the level of Indo-European poetics; poetic expressions and mythological representations dated back to Indo-European times are retained in Solon’s texts.

NATIONAL SIGNS AS A CULTURAL RESOURCE OF ETHNIC TOURISM DEVELOPMENT

Signs ingrained in our everyday lives have already become an integral part of our nature, although insufficiently perceived yet. The purpose of the paper is the research of signs in modern life, in particular, in tourists’ lives. The scientific review of definitions “sign”, “ethnic tourism” is presented. National signs are predictions checked by time, based on an assumption of peoples’ communication with natural phenomena, various properties of objects and events which happen to them, expressed in a short, figurative form. The national sign passes from generation to generation. Signs form behavior stereotypes in ordinary situations, promote thinking dogmatization as a certain defense mechanism preserving cultural tradition from external influence; maintain separate mythological ideas about interdependence of the nature and society. In this article national signs of Yakuts and Evenks which reflect their culture, traditions and customs are considered. Studying signs gives tourists a chance to get acquainted not only with nature, but also with original culture; to make comparisons of national characters, mentality and archetypes. Tours oriented to learning foreign traditions and customs gain more popularity nowadays. As a result ethnocultural tourism aimed at studying socio-cultural and traditional patterns, including signs, reflect the way of life of people living in extreme conditions, as well as their environmental friendliness, in the best way possible. The author concludes that preservation and revival of national signs is critical for tourists’ acquisition and the development of ethnic tourism.

Мотивы благопожеланий в обрядах детского цикла тувинцев Китая, России и Монголии

In the ritual folklore of the Tuvans of China, Russia and Mongolia, the main verbal component of the rituals of the children’s cycle is good wishes, which functions from the beginning to the end of each rite. The article identifies twelve motives of good wishes uttered in the structure of the rituals of the children’s cycle. These motives of good wishes contain traditional moral and ethical values, in which cultural symbols, mythological representations and the main priorities of Tuvan culture are presented in a short and concise form. Each motive of good wishes is analyzed in detail from the point of view of semantics, structure and pragmatics of the ritual practice of Chinese, Russian and Mongolian Tuvans. It is established that these motives of good wishes depend on a range of factors: the specific ritual situation, the purpose and meaning of the ritual, the gender and age characteristics of the recipient of the ritual. Nine of them (longevity, fate, respect, human vitality, physical qualities of the child, well- being, education, service to the Motherland, gaining skills) are characteristic only in the rites of the child’s cycle, because in these rituals the future life of the child, the recipient of good wishes, “forms” with the help of verbal elements. The other three motives (blissful state, strengthening the strength of the spirit and the presence of numerous relatives), except for the rituals of the children’s cycle, are used as good wishes in the wedding ceremony. The analysis shows that the ritual texts of the Tuvans of China, Russia and Mongolia in the structure of the rituals of the children’s cycle have largely preserved the ancient layer of common Tuvan folklore, which still has an authentic performance. In the texts of good wishes, mythological ideas about the well-being and fate of the child, the invocation of a prosperous life for him, as well as modeling the life path of the child are common. Enclave traditions to a greater extent have a single fund of good wishes, common features compared to the mother field are observed in them. According to the compositional structure in the good wishes of Chinese Tuvans, in comparison with other ethnolocal Tuvan groups, the stable formula “let it be a blessing” applies. The obtained results can be applied for further comparative research in the field of Tuvan folklore.

Культ писарей у предбайкальских бурят

Purpose. As a result of joining the Russian Empire, the Buryats formed certain beliefs and cults associated with the administrative service and organically associated with the worldview of Buryat shamanism, which became the basis for the emergence of specific ritual activities. In this case, of particular interest is the cult of mythological scribe-servants of the Lord of the underworld Erlen Khan. This cult had a wide practical application among the Pre-Baikal Buryats until the 20th Century. Results. It is determined that the new types of social organization among the Buryats, formed in the process of Siberia’s accession to the Russian state in the 17th–18th centuries, are reflected in religious and mythological ideas, in particular in the sacred concept of the other world, ideas about the afterlife and beliefs about the terrible punishers in the face of the Eastern gods. It is revealed that many aspects of archaic shamanistic ideas about the soul and its afterlife were harmoniously incorporated into the views of the complex bureaucratic structure of the underworld. Conclusion. The formation and development of the administrative service in connection with the entry of the Buryats into the Russian state led to the sacralization of the rank, and rank served as the basis for the formation of new religious and mythological aspects in the spiritual culture of the Buryats. Such ideological aspects related to the historical realities of ethnic and cultural development of the Buryats are specific motives in the mythology of the population of the Pre-Baikal region which allows examine the development and formation of traditional beliefs.

«ЛУЦСЕ БЫ ВСЕ МАЛЬЦИКИ ПОМЕРЛИ, А ТОВАРИЩ ЛЕНИН ЗИЛ»: ДЕТИ И СМЕРТЬ ВОЖДЯ

The article deals with the phenomenon of "leader's death" as an effective tool of Soviet educational practices. Vladimir Lenin became a cult figure; the attitude to his death differentiated the degree of "sovietization". The study is based on verbal and non-verbal texts of the mid-1920s, both of adult and child origin. The use of typologically diverse sources created by children helped reconstruct the unique children's experience of perceiving and experiencing the death of "Grandfather Ilyich" and fix it in the memorial practices of future generations. The transformation of children's perception of the phenomenon of death from "terrible" to "familiar" in the epoch of wars and revolutions in Russia in 1914–1922, which occurred as a result of their vulnerability to its traumatic influence, is traced. The author concludes that the Soviet culture of childhood of the 1920s tremendously reproduced adult mortal practices adapted to the children's world. It is shown that children's memorial texts reflected both ideas produced by Soviet regime and typically children's fairytale and mythological ideas about the death of the "hero" and "eternal immortality" prepared for him. The analysis of ritualism and symbols of mourning events with the participation of children dedicated to Lenin's death, children's playful practices in the "Ilyich's funeral", children's prose and poetic memorial art testifies to the active involvement of children in the new Soviet political culture that was being formed. It was the culture of participation as a special model of interaction between the authorities and society, which provided for the active inclusion of all Soviet citizens in politics.

Boulder Stones in Legends about the First Inhabitants of the Region: Dynamics of Ethnocultural Tradition in Northern Prikamye

This article is devoted to the traditional mechanisms of semioticisation of natural landscape, which are considered with reference to revered boulder stones of Northern Prikamye. The approach chosen by the author is determined by modern trends in the study of the cult of stones, more particularly, the shift from the search for “traces of paganism” to other possible models that influenced the existing mythological ideas and practices. The author closely examines two ethno-local traditions functioning in Komi-Permyak District, Perm Region, i.e. in Yusvinsky and Gainsky Districts. The research material includes ethnographic facts and folklore texts of the nineteenth — early twenty-first centuries, including the records of ethnographer L. S. Gribova and new field data, some of which have not been published before. In one of the cases, in the village of Arkhangelskoe, Yusvinsky District, two competing etiological interpretations of the boulder are found. The Christian explanation (the stone is the “saddle” of prophet Elijah) is gradually replacing the “heroic” version of the appearance of the stone (the “saddle” that fell from the bogatyr’s horse). The main subject of the storytelling is multiple movements of the boulder in space, overcoming the natural immobility of the stone and serving — along with stories about the healings of people — confirming its “miraculous” properties. The second case was recorded in a remote, inaccessible part of Gainsky District. There, boulders serve as a materialised memory of the first inhabitants of the region — brothers-bogatyrs / strongmen. There are contaminated plots in which the local hero Pera replaces St Stefan Permsky floating on a stone. The criterion for the special semiotic status of the stone, its separation from the neutral landscape, is the appearance of its own name (oronym). Apparently, the forms of veneration of the three stones described in the article, known from the evidence of the nineteenth century onwards, did not develop until the settlement of these territories at the end of the sixteenth — first third of the seventeenth centuries, in a situation of contacts with Russian peasants. Taking into account data from over a century allows the author to show the flexibility of the Komi-Permyak tradition aimed at mythologising boulder stones.

Зоонимы в именах персонажей марийских народных игр

Introduction: zoonyms occupy important place in the semiotic system of folklore. They encode basic mythological ideas and, at the same time, reflect economic activity of people traditionally associated with animals. The game vocabulary correlates with the general system of folklore and mythology. Zoonyms are used in games as the names of characters, game items and toys, movements, as well as they are widely represented in texts of chits, game sentences, dialogues, songs. Objective: to reveal zoonyms in the names of the characters in the Mari folk games, to systematize them according to their functions, thematic groups and etymology. Research materials: almost the full volume of texts with descriptions of the Mari folk games is taken from publications in Russia and other countries, from the hand-written Archive of the Mari Research Institute of Language, Literature and History, field records, the personal collection of the author. Results and novelty of the research: the article for the first time reveals a complete system of zoonyms in the names of the characters of the Mari games. Their functions in the game are revealed: most often, zoonyms are used in the games like catch-up, blind man etc. as the name of the catcher, his antagonists, as well as an offensive nickname for the losing player; they also indicate the similarity of the movements of the gamer and the animal; used in round dances and imitative improvisational games. Thematically, most of them are the names of mammals and birds, which Mari children most often met in everyday life and in native nature. There are almost no names of reptiles, amphibians, fish and insects. Etymologically, most of the reviewed zoononyms are Turkic borrowings in the Mari language, fewer of them are words of Finno-Ugric origin and borrowings from Russian; and these data indirectly indicate the genesis of specific animal images in the Mari game culture.

ПРИРОДА РУССКОГО СЕВЕРА В ТВОРЧЕСТВЕ Е.Е. ВОЛКОВА (1844–1920)

It is known that the landscape in Russian painting is formed quite late – only in the last quarter of the XVIII century. The first Russian landscape painters – F.Y. Alekseev, F.M. Matveev, M.N. Vorobyov, Semyon Fedorovich and Sylvester Feodosievich Shchedrin, etc. – focused mainly on the nature of Italy, cultivated Russian landscapes (noble estates and parks) and urban panoramic views. The flowering of the Russian landscape, the hero, becomes the nature of the Central and Northern Russia, second half XIX century – this time is the work of artists, the Wanderers, A.K. Savrasov, E.E. Volkov, I.I. Shishkin, F.A. Vasiliev, A.I. Kuindzhi, I.I. Levitan... Their paintings of the 1870-ies and 1880-ies were exempt from academic canons and established realistic principles. Particular attention was paid to the theme of the swamp, which could probably be explained by the aesthetic attitude common to different types of art to the image of the ordinary and ordinary. However, the opening of the swamp theme does not belong to Peredvizhniki. The first swamp was written in 1863 by P.A. Sukhodolsky (1835-1903), an artist who consistently adhered to the canons of academic painting in composition, drawing, and the General tone of his works. This is especially noticeable in his painting: «Swamp». It is difficult to determine what time of day is depicted-early morning or evening, we can also assume that the darkness is forced by a thundercloud. The feeling of anxiety is enhanced by the color scheme – a General dark color. The painting by P.A. Sukhodolsky clearly bears traces of mythological ideas about the danger that the swamp is fraught with. Motifs associated with swamp mysticism are also found in other artists (A.K. Savrasov and A.I. Kuindzhi, E.E. Volkov). So, in the picture of E.E. Volkov: "Swamp in autumn" (1871) the swamp is shown as a reality of peasant life. This is a familiar and habitable space: poor, thatched huts, bald clumps of bushes, stunted birches and lush swamp vegetation, ducks swim peacefully, on the right you can see the figure of a woman with a sheaf of reeds, expanding the side space of the picture. All these details seem to be embraced by the darkening sky, but there is no sense of anxiety, rather a sense of everyday calm. This is a kind of pictorial story about the difficult peasant life, in the spirit of the democratic mood of the time, expressed in literature. This type of landscape can also be attributed to a later painting by E.E. Volkov: «Landscape. Swamp» (1880-ies). The artist makes the figure of a man on a horse as the compositional center, but keeps in view the vast distance, the viscous swamp soil, and the sky with rare blue gaps repeated in the water. Thus, E.E. Volkov has a special predilection for the theme of the swamp, which is diverse and varies in its landscapes.

WAYS OF DEVELOPMENT OF “MINORITY” LITERATURE: POETRY BY NENETS PROKOPIY YAVTYSY

The study of the manifold ethnocultural heritage of Russia is one of the paramount tasks, potentially the most important area of Russian humanities. At the same time, the literary traditions of the peoples of our country, representing a unique civilizational integrity, spiritual wealth, are of significant scientific interest. Focusing on the problems of the development of "minority" literature and the contexts of its updating, it must be emphasized that this is a complex and theoretically insufficiently comprehended artistic and aesthetic, ethnopsychological, linguistic phenomenon. It should be recognized that at present there is a need for fundamental comparative studies and the development of new approaches to the study of close and distant cultures, literature, and models of the world. The article discusses the realities of the development of a separate "minority" literature at the turn of the twentieth and twenty-first centuries on the example of poetic texts by the Nenets poet Prokopiy Yavtysy. A brief description of the main stages of the formation of the Nenets literature is given, a number of its key features that are important for heterogeneous typological, comparative studies are highlighted. P. Yavtysy’s work represents a set of artistic features and codes of expressiveness that are common to many literary traditions of the native minorities of the Far North, Siberia, and the Far East, and there are also separate stadial and typological correspondences with Finno-Ugric literature of Russia. The main poetic methods and contexts of Yavtysy’s poems are established, the most representative figurative and symbolic strata, plot and situational blocks are determined, the linguistic and poetic component is interpreted. The deep genetic connection of the poetic system of the Nenets author with the folklore and mythological ideas of the Nenets is emphasized. The question of the influence of socialist realism on the artistic rhetoric of P. Yavtysy is raised. In the article, a separate place is occupied by the problem of translating the works by the Nenets author into Russian.

«Нева – главный проспект Петербурга»: современные мифологические представления горожан (часть 1)

«Нева – главный проспект Петербурга»: современные мифологические представления горожан (часть 1)

Specifics of God's sensation in folk fairy tales and mythological dimensions (formulation of the problem)

The article reveals the features of God’s reflection through the prism of mythological ideas and Ukrainian fairy tales. The purpose of the paper is to describe the God’s perception by human, which appears in childhood and which later can be transformed and acquire a different meaning and form, but do not disappear insofar as God gives man the inspiration to live and fight, to enjoy life and victories, to improve his mind and thought, to profess ideals of love and goodness. Relevance of scientific research is to reveal God’s reflection in ancient Ukrainian, antique and Indian mythology on the basis of an analytical approach and the importance which he plays in human life. The novelty of scientific research is that the author tries to find out the mystery of the universe, the values of universal morality and the ontological essence of moral values. The disharmony of human existence raises the needs of the man and nature unity, and therefore, in his being a person seeks to create a mental harmony, forming in the minds such a picture of the world in which it is possible to find answers to the sensational issues. A person needs to know himself through the knowledge of spiritual divine manifestations in himself. Mythology and fairy tales, which described God and the most mysterious aspects of cognition played a significant role in human life. Conclusions. In the article is found out that in Ukrainian fairy tales God appears as a certain symbol through which a person can know him, as well as himself, to know human spiritual divine manifestations, the moral concepts essence of "goodness", "evil", "sin", "love" .