Olonkho Texts Research Articles

Gaps of Kinship in the Yakut Heroic Epic Olonkho

Abstract This research considers issues of interaction between language and culture; it studies the phenomenon of lacunarity in general, as well as identifying lexical gaps in olonkho texts and ways of eliminating them in translation. Here, we investigate the need for more in-depth study of the translation of works of art in which a culture-specific component has a high degree of presence; the importance of studying the lacuna phenomenon as one of the main factors influencing translation, and, in turn, the need to study to the misunderstanding of a text by a foreign reader. The problem of translating culturally related phenomena necessitates a description of their origins and development, and attention to notions of linguistic worldview and linguistic universals regarding culture-specific vocabulary, including lexical gaps.

THE LINGUISTIC REPRESENTATION OF THE EMOTIVE CONCEPT OF “HAPPINESS” IN TWO OLONKHO TEXTS (“KHAN DZHARGYSTUY” AND “NURGUN BOTUR, THE SWIFT”) AS A CASE-STUDY

The article provides a content analysis of the emotive concept of “„happiness””and its linguistic representation in the Olonkho texts titled “Khan Dzhargystuy” and “Nurgun Botur the Swift”. The aim of the study is to define the linguistic expressive means representing the concept of “„happiness””in the Olonkhonarratives. The following linguistic expressive means were identified as a result of the research: lexical means in the semantic field of “„happiness”” (yuor-kot‘to be filled with joy, to cheer’; kul-oyno ‘to be happy, to rejoice’; korulae‘to rejoice, to fool around’); figurative lexical means (ymay ‘to sneer’; yrdzhay ‘fleer’; muchuy ‘to smile timidly’); interjections (Uruy!Akhal! Ieheybin); and formulaic constructions (all-round “happiness”, a kiss after a long-time partition). It is worth mentioning the conceptual metaphors, which represent a comparison of a specific situation to another concept recognizable by the recipient of the metaphorical idea. Thus, in the Olonkho texts, the “happiness” concept is represented using a pattern of “clapping one’s hands together”, a descriptive feature typical for depicting the Lower World representatives. It can be concluded that the representation of “happiness” in the analyzed texts is hyperbolic, purposefully exaggerated, and effective in producing an emotional and evaluative effect. It also demonstrates the hierarchic relationships within the folk-epic world and the belonging to a specific group.

Глаголы, репрезентирующие концепт «радость» в якутском языке (на материале текстов олонхо)

The paper examines Yakut verbs in the verbalization of the concept “joy” in order to identify features of the use of these verbs in the actualization of the concept and to identify characteristic ways of perception of the language picture of the world of Yakut speakers, as linguistic representations of the concept “joy” in the Yakut language have not been studied enough. There are used the method of component analysis to study dictionary definitions of the lexeme; the method of continuous sampling to collect examples from the epic texts; the method of contextual analysis, which provides an opportunity to identify different meanings of the features of representation of the studied concept in the context of epic texts. As a result, based on the considered olonkho texts, we can say that in the Yakut language the concept “joy” is represented by the verbs üör “to rejoice”, uör-köt “to rejoice, to exult”, kül “to laugh, to rejoice”, kül-оonnyоo “to rejoice, to have fun, to joke”, körülee “to have fun, to play, to frolic for fun and for your pleasure”, oonnyoo-körulee “to make merry, to amuse oneself”, kötüölee-körülee “to make merry, to frolic”, körülee-narylaa “to have fun, to make merry with the heart”, michiy “to shine, to shine with a silent smile”, michiliy “to shine with a smile, to radiate joy”, ymay “to smile, grin, to spread in a smile”, which are included in one lexical-semantic field “joy”. The emotion of joy appears in the texts of the olonkho in actions when the heroes learn long-awaited news, in descriptions of happy moments in the life of the heroes, from the seen or heard deeds of the heroes. In addition, when a feeling of joy appears, it is accompanied by such phenomena as laughter, smile, pleasure, light, fun, good humour, play, flight, amusement. The use of these verbs adds figurativeness, expressiveness and colourfulness in the epic texts, the application of verbs, depending on the circumstances and in relation to certain characters, in our opinion, shows the national particularity of perception of the Yakut language world picture.

ДЕНОТАЦИЯ РЕАЛЬНОГО РЕФЕРЕНТА МИФА (НА ПРИМЕРЕ ОБРАЗА МИРОВОГО ДРЕВА ААЛ ЛУУК МАС)

This work is devoted to the problem of integrating scientific knowledge with the use of systematic methodology in research. The relevance of addressing the problem is due to the insufficient implementation of post-non-classical approaches in modern folklore studies. The level of knowledge of human culture today is increasingly demanding the synthesis of knowledge from different disciplines to expand the boundaries of worldview. The purpose of the study is to update the conceptual foundations of systematic research of mythological texts, and then to identify the real core of the myth of the Aal Luuk Mas world tree in the light of natural science theory. The materials for the analysis are extracted from the epic texts of Olonkho, where the mythological views of the Sakha ancestors are most fully preserved. Scientific novelty is seen in the very formulation of the problem of integrating knowledge and methods in the study of images of the mythological canvas of olonkho texts. The principle of integrity serves as the leading principle in the study, and a systematic approach is implemented. Structural and semantic analysis, the method of mutual interpretation of myth and science, methods of demetaphorization, dehyperbolization of the mythological image are applied. The author clarified that the approach is based on a number of concepts of the scientific paradigm “nature-man-thinking-creation”. It is proposed to introduce into folklore research the consideration of the problems of humanitarianism and myth, and science in the context of the integral field of human culture, which is possible to provide a multidimensional result of research. As a result of the analysis, the content of the ancient image of Aal Luuk Mas appears in a new light, in the form of the most important cosmic process – the spiral dynamics of systems of celestial bodies. It is emphasized that the main cosmic function of the mythological image of the Aal Luuk Mas tree as a driving principle is to ensure the dynamics, integrity and unity of the Universe at all levels of matter (microcosm, macrocosm, and megaworld). The author concludes that the results obtained contribute to the revision and possible adoption of the scientific image of the phenomenon of “spiral motion” in the form of a projection of the “psychological universal and archetype” (S. Yu. Neklyudov) mythological representations of ancient people.

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

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.

Образная (изобразительная) лексика в якутском и бурятском эпосах: лексические параллели

Introduction. The article presents a comparative analysis of the figurative vocabulary of the Yakut and Buryat languages on the basis of epic texts. The figurative vocabulary in both languages is specific part of its lexicon which have a common roots. The purpose of the study is to identify the features of the use of lexical parallels of the Yakut and Buryat figurative vocabulary in the texts of the Buryat uliger and Yakut olonkho. The relevance of the study is determined by the growing interest in linguistic folklore in the study of language based on the material of epic texts in order to identify the specifics of the language of the epic as a whole. For research a lexical and semantic analysis and comparative historical method were used. Materials. The texts of the Buryat uliger “Alamzhi Bergen” by E. Shalbykov and the Yakut olonkho “Kyys Debiliye” by N. P. Burnashev, “Mighty Er Sogotokh” by V. O. Karataev, “Khaan Dzhargystai” by unknown olonkhosut from Verkhoyansk were used as material for the study. The three olonkho texts are represented by three main regional epic traditions, which makes it possible to take into account almost all the local features of the olonkho text. Results. The study revealed 12 lexical parallels in the figurative vocabulary presented in the Yakut and Buryat epic texts. These lexical parallels were divided into three thematic groups by the way of description. Thus, first group is figurative words describing the figure, second is the group of words describing facial expressions and face, and the last one is the words describing the shape of objects. A comparative analysis of the revealed lexical parallels showed that they have a emotionally expressive character that allows expressing the narrator’s attitude to the described object, have the same semantic meaning, the same ways of word formation and the general principle of word formation.

Olonkho of Olekminsk District in 19th and 20th Centuries: Traditions and Transformations

The situation of traditional storytelling is considered in terms of adherence to the canons of archaic olonkho. The material for the study consists of olonkho texts that were in circulation in the Olekminsky district of Yakutia. Texts were selected for analysis, among which early recordings of olonkho variants from the mid-19th century reveal transformations that distinguish them from traditional olonkho. These transformations are analyzed from the perspective of modern folklore studies — the preservation of the original archaic features of the epic. The author studied the plot-compositional structure, motif fund, and imagery system in early recordings of olonkho from the 19th and 20th centuries in Olekminsky. Deviations from established epic canons were identified. Structural-typological and comparative-comparative methods were applied. The scientific novelty of the study lies in the fact that this aspect of the epic heritage of the Olekminsky district is being studied for the first time. As a result of the study, motifs from world, including Russian, fairy tales were discovered in the content of early recordings of Olekminsky olonkho. This is explained by the unique socio-cultural conditions of the region, in particular, the coexistence of several nationalities. The author attributes such additions to violations of the epic traditions of Yakut storytelling. It is noted that such violations are not found in the epic works of storytellers of the 20th century.

Tropes in Olonkho: Stability and Variation

This article explores the use of rhetorical devices in the epic imagery of Yakutian epic poetry. The study focuses on the continuity of tropes such as epithet, hyperbole, simile, metaphor, and metonymy, drawing upon various recordings of Olonkho texts from different time periods. The main attention is given to tropes found in the earliest texts (1840-1860s), as this was a period of greatest diversity and variation in their usage. The author proposes a classification of tropes based on their period of usage and spread. It is noted that in the diachronic analysis, there is a demythologization of the image of the “milk lake” and an evolution of the artifact of the “bone bow”. The conclusion is drawn that by the mid-19th century, Yakutian epic art, with its already established regional traditions, possessed a highly developed arsenal of rhetorical devices for epic imagery. It is suggested that the peak of mutual influence among storytellers occurred during the heyday of gold mining in the Bodaiibo residence (1870-1900s), as many Olonkho performers have biographical data indicating their involvement in mining activities in Bodaiibo, where they would have encountered other prominent Olonkho performers. After this period, similarities in the use of tropes can be observed in Olonkho texts. The relevance of this research is driven by the increasing interest in contemporary Russian society towards the ethnocultural diversity and uniqueness of different peoples.

Эпосоведение

The goal of this article is to consider special properties which characterize the usage of partitive case in simple (non-possessive) declension in the language of the Yakut folk heroic epos olonkho. The relevance of this research is supported by the less studied status of partitive case as one of the most infrequent ones compared to other cases in the Yakut language as well as by the lack of theoretical research devoted to the usage of partitive case in the epic texts of olonkho. The following methods were used: descriptive, comparative, structural-semantic as well as the method of continuous sampling. Leipzig glossing rules were used in the article. The collected material contains examples from the following olonkho: “Nurgun the Strong” (“Nyurgun Bege”), “Ker Buuraj bogatyr” (“Kör Buuraj bukhatyyr”), “Tough Warrior woman” (“Kyydaannaakh Kyys Bukhatyyr”), “Ala-Bulkun”, “Kyys Debiliye”, “Olonkhos of Moma” (“Muoma olonkholoro”), “Myuljyu the Strong with unstumbling joints” (“Byudyuryujbet syukһyekhteekh Myulgyu Bege”), “Hero Eles with a bear-black horse” (“Eһe Khara attaakh Eles Bootur”), “Nyurgun Bootur the Swift” (“Julurujar Nyurgun Bootur”), “Lord Jagaryma” (“Tojon Jagaryma”), “Kyun Erili”, “Obstinate Kulun Kullustuur” (“Kuruubaj khaannaakh Kulun Kullustuur”), “Kyun Tegierime”, “Great Daaryn bogatyr” (“Uluu Daaryn bukhatyyr”), “Warrior woman Jyrybyna Jyrylyatta” (“Jyrybyna Jyrylyatta kyys bukhatyyr)”. Partitive case is considered to be one of the lesser used cases, due to the presence of a number of restrictions on its occurrence. If these conditions are met, then the usage of partitive case becomes possible, but not obligatory, since accusative or ablative cases might be used just as well. With the help of the data gathered using the method of continuous sampling from fifteen specimens of olonkho, it is demonstrated that nouns in the simple (non-possessive) form of the partitive case can act as a direct object with a variety of verbal forms. It has been shown that partitive case occurs in both paradigms of the imperative mood in all person-number combinations except third person. It is also employed with various voice and aspectual forms of the verbs, with the imperative particle kulu and with the emphatic-diminutive imperative. The results of the study reveal the hidden potential and the possibilities for more extensive usage of partitive case.

Приемы создания портрета главного героя в якутском эпосе (на материале текстов олонхо «Нюргун Боотур Стремительный» П. А. Ойунского и «Строптивый Кулун Куллустуур» И. Г. Тимофеева-Теплоухова)

Introduction. The article examines Yakut heroic olonkho epics — Nyurgun Bootur the Swift by P. Oyunsky and Kulun Kullustuur the Obstinate by I. Timofeev-Teploukhov — for techniques employed to create portraits of main characters. According to N. Yemelyanov, the olonkho Kulun Kullustuur the Obstinate recorded from taleteller I. Timofeev-Teploukhov clusters with earliest patterns of archaic epic, while that of Yakut writer P. Oyunsky (Nyurgun Bootur the Swift) is the first literary adaptation of olonkho texts. The study attempts an insight into how and which particular portrayal techniques were used by P. Oyunsky and I. Timofeev-Teploukhov to depict main characters of theirs. The comparative approach to the narratives recorded in different periods shall make it possible to trace the use of portrayal techniques, which shall underline the unique artistic features characterizing each of the taletellers, and show how such portrayal patterns developed to gain deeper associative essentials in further olonkho texts. Goals. The study aims to identify some distinct features inherent to the techniques of creating main characters’ portraits in the olonkhos Nyurgun Bootur the Swift and Kulun Kullustuur the Obstinate, and outline ethnic specifics in portrayal characteristics. To facilitate this, the paper shall classify portrayals, articulate types of techniques and their functions in portraying a main character, identify stable formulas employed to depict heroes, determine specific features of portrayal as a key technique for the making of an epic hero. The work reviews the existing types of epic portraits, their functions and attributes, examines some visual means serving to unveil the images of main characters. Results. The study attests to the examined narratives are characterized by an increased stability of depictive portrayals with peripheral parts (artistic and emotional epithets) tending to vary. Each such depictive portrayal proves multifunctional, semantically wide, and technically relevant. The descriptions of the heroes’ appearances are somewhat idealized and rich in comparisons, repetitions, evaluative epithets. Portrayal agendas of P. Oyunsky vary through history and depend on actual artistic methods and style employed by the author who pays special attention to fictional details depicted in the context of folk traditions. The study of the techniques helps identify which innovative tools P. Oyunsky used when he was creating his Nyurgun Bootur the Swift.

Mythopoetics of Images in Olonkho "Nyurgun Bootur the Swift" by K. Orosin and P. Oyunsky

The article is devoted to the mythopoetics of images in the Yakut heroic epic olonkho "Nyurgun Bootur the Impetuous" - an archaic version of the storyteller K. G. Orosin and the author's version of olonkho "Nyurgun Bootur the Impetuous" by the Yakut writer, poet P. A. Oyunsky. Comparative analysis of archaic and author's olonkho texts does not involve consideration of the volumes of olonkho, which differ greatly in the style of presentation and detail in them; there is no goal to determine the algorithm of comparative characteristics, since the texts have different chronological, historical conditions of creation.The purpose of the study is to determine the role and significance of the mythopoetics of images in the olonkho "Nyurgun Bootur the Swift" by K. G. Orosin and P. A. Oyunsky. Special attention is paid to the interpretation of traditional images in Olonkho. The scientific novelty of the presented research consists in an attempt to analyze and compare the images in the olonkho "Nyurgun Bootur the Impetuous" by K. G. Orosin and P. A. Oyunsky with the definition of their significance in the conceptual picture of the world reflecting the ethical and aesthetic representations of the people, their ethno-cultural consciousness. It is known that in the epic science of the same name olonkho K. Orosin and P. Oyunsky are assigned to the group of the central local tradition of Yakutia. At the same time, the conducted research has shown that olonkho has a complex historical origin, as evidenced by the revealed differences in the creation of mythological images-characters.

A Systematisation of Transcriptions of Early Olonkho Recordings According to Plot Peculiarity

Abstract The article* presents the results of textual studies of the early recordings of the Yakut heroic epic Olonkho, recorded from the second half of the 19th century to the beginning of the 20th century. The relevance of the study is due to the fact that scientific research of the texts of the early recordings of Olonkho with full broadcasts of the plot is most widely, systematically carried out. At the same time, researchers today continue to pay less attention to early recordings of Olonkho, producing brief or incomplete schematic statements of content. A review of early texts on Olonkho shows that these reviews have incomplete, overly concise, summaries of the plot, although they do confirm the stability of the ancient thematic content, plot structure, motifs, and image system. The richness of the poetic language and the beauty of the style, and the surprisingly artistic content and archaic motifs, which can be seen even in translations, are of considerable value for establishing a full picture of the unique oral creativity of the Yakut people. This study attempts for the first time to systematise transcriptions of early recordings of Olonkho using a summary of the plot in Russian compared with a summary of the plot in the original language. The systematised texts will be used in a comparative study of Olonkho texts recorded in the 19th and 20th centuries. This analysis shows that there has been a transfer of plot with epic texts of the late period in order to maintain a degree of continuity, using both common and specific features to bridge between traditional and modern forms of Olonkho, taking into account regional and local features.

SUBJECT WORLD OF YAKUT OLONKHO: WOMEN's TRADITIONAL JEWELRY

The article reveals the importance of folklore material as a source for studying the material components of the traditional culture of the Yakuts, examines the complex of traditional women's jewelry depicted in the Yakut heroic epic olonkho. The relevance and novelty of the research is due to the fact that this topic has not been sufficiently studied in the Yakut folklore studies. For the first time, the Yakut olonkho acts as a means of broadcasting the development of blacksmith's craft, religious beliefs and ethnocultural values of the Sakha people, and also confirms the antiquity of the existence of certain women's jewelry made of metals. As part of the study, a linguocultural analysis of women's traditional jewelry from olonkho texts was carried out. Women's traditional jewelry of the Yakuts, united according to the principle of their location on certain parts of the human body, is divided into the following groups: head jewelry, neck-chest ornaments, loincloths, hand ornaments and sewn-on ornaments. The following conclusion was made: the complex of women's traditional jewelry concentrates in itself the Yakut mentality, formed over a long historical period. The rich material olonkho contains important information not only about the types of jewelry, but also reveals the functional characteristics of jewelry, the shape and material of their manufacture. Yukut jewelry as an important component and integral part of the traditional costume in olonkho is described in one formulation. In the texts of the epic, traditional jewelry complements the image of kuo women, heroic women and udagan women. Olonkho heroines wear jewelry on special occasions, such as when welcoming honored guests, on holidays, and as protective gear in combat. The epic olonkho is characterized by a high degree of aesthetic attitude to reality; in this sense, women's traditional jewelry acquires the features of a holistic artistic generalization.

Representation of Concepts BIG BROTHER / LITTLE SISTER in the Yakut Heroic Epic

Purpose. The article discusses the concepts of BIG BROTHER / LITTLE SISTER (UBAY / BALYS) in order to identify the features of representation of these concepts in the Yakut heroic epic olonkho and to establish the semantic content of these concepts, to determine their cultural and national specifics. Because, firstly, in a traditional family, as a unit of society, the relations of children are of great importance, as blood relatives they are the successors of the clan. Secondly, despite the global technocratic development, interest in and appeal to traditional values is growing in society, because family ties and family relations form self-organization and self-regulation of a person in society. Thirdly, due to the lack of study of these concepts in the Yakut epic texts.Results. Within the framework of the conceptual analysis, the method of continuous sampling was used to collect examples from epic texts; component analysis to characterize the conceptual constituent of the word; a method of contextual analysis which provides an opportunity to identify different meanings and shades of meanings of the studied concepts in the context of epic texts. In the examples considered, the lexemes ubay and balys and their various detonates represent their dictionary definitions, that is they designate an elder man relative and a younger woman relative.Conclusion. The result of the performed analysis shows that the concepts of BIG BROTHER / LITTLE SISTER are represented in the olonkho texts by various lexemes and phrases that have deep connotative meanings and reflect traditional family relationships between elder brothers and younger sisters among the Yakut people.

Semantics of Mythological Image of Yuryung Aiyy Toyon in Its Fundamental Principle (Archaic Texts of Olonkho)

The question is raised about the correlation of mythological ideas with scientific information and the corresponding object of reality. It is noted that, the cognitive potential of myths continues to remain inaccessible to the perception of a modern person due to his metaphorical language. The novelty of the research is seen in an attempt to verify the semantics of the mythological image of Yuryung Aiyy Toyon in natural science discourse. The research involves a general scientific synergetic approach, lexical-semantic, contrastive-comparative, structural-semantic types of analysis, the method of mutual interpretation. In addition, special methods of depersonification, demetaphorization, and dehyperbolization of the mythological image were applied. Particular attention is paid to isolating the initial meaning of the lexeme үрүҥ — the component that generates the semantic space of the name Yuryung Aiyy Toyon. As a result of a comparative analysis, the essential content of the mythological image of a single origin and the supreme creator Yuryung Aiyy Toyon is revealed in a new light, as a basic concept of the existence of the universe from the point of view of modern science — light, the spread of which is a key factor in determining the fundamental categories of the flow of time and the length of space.

National and cultural semantics and semiotic interpretation of the Yakut lexeme Ilge (on the material of Olonkho texts)

National and cultural semantics and semiotic interpretation of the Yakut lexeme Ilge (on the material of Olonkho texts)

К семиотической интерпретации мифологического образа древа Аал Луук мас в эпосе олонхо

Introduction. Interpretation of sign systems inherent to archaic texts of Olonkho epic remains an important issue within Yakut epic studies. The situation is complicated by the ongoing penetration of network structures into all spheres of human activity in modern society, and requires further systemic studies in the nature of mythological consciousness. The article examines the mythological image of Aal Luuk mas Tree which steadily functions in mythological contexts of the Yakut Olonkho epic. As is known, the ‘pith and marrow’ of any phenomenon can be comprehended only through the study of its formation. So, the work analyzes all stages of the development of the image, starting with the sources proper. Goals. The research aims to identify the sequence of stages in the formation of the mythological image of Aal Luuk mas, determine the model archetype within the ethnic mythopoetic consciousness, and demonstrate modeling and structuring functions thereof as the main generating idea in the Sakha view of the world. Materials and Methods. The work considers mythological views of the Sakha people reflected in Yakut Olonkho epic texts, and employs an interdisciplinary approach that includes various methods of modeling, structural-semiotic analysis, and deduction. Results. The stadial research shows that Olonkho texts contain fragments of mythological cosmogenesis, archaic motifs of the world egg, world sea, elements of zoomorphic space, anthropomorphic characters to have preceded the era of the Tree ― to further shape a complex image of Aal Luuk mas as a model that structures a multilevel Universe. The work mentions a geometric representation of the Tree in the form of a static pyramid and a dynamic cone identical to the Olonkho epic model of the world discovered by the author in previous studies. The paper concludes that in addition to the well-known ideas about the image of Aal Luuk mas as a symbol of fertility and the eternal cycle of life and death, the form and content of this archaic image largely determined the emergence of many sign systems nowadays integral to Yakut material and spiritual culture. And this circumstance proves instrumental in recognizing an invariant archetype scheme with the preservation of semantic ‘valencies’ in modern texts of the tradition, thus indicating further research prospects.

On the issue of dating Olonkho

The appearance of Olonkho has been of interest in the minds of researchers since the time of P.A. Oyunsky. For the first time in 1927, he suggested that Olonkho could appear in the form of separate narratives of wars during the Tatar and Mongol invasions of China. In this study, we attempted to find out the approximate time of the occurrence of Olonkho based on an interdisciplinary approach. The aim of the study is to determine the elements of the archaic, ancient and medieval elements of Olonkho and determine the approximate period of their appearance in various Olonkho plots. Research Methods. We reviewed the available literature on the Yakut epicology, on population genetics, history and ethnogenesis of the Sakha (Yakut). When dating the time of appearance of Olonkho, we used the method used by P.A. Oyunsky. We compiled a picture of the modern understanding of the ethnogenesis of the Sakha based on an analysis of modern historical, archaeological, genetic, humanitarian and our own research on this issue. Results. The heroic epic of Olonkho is an archaic genre of oral folk art, with its composition containing elements of the archaic, ancient and medieval periods, involved in the texts of Olonkho in different eras. It should be noted that at the same time, Olonkho as an oral genre evolved from myths about the creation of the world to a holistic work in the form of a heroic epic, the formation of which ended in the territory of the Middle Lena with the formation of the Kulun-Atakh culture. Over the past 35,000 years, several waves of large-scale migrations of the ancient population have changed in the territory of Northeastern Siberia, but the female population of the region has remained constant. As we believe, it preserved and introduced Olonkho to the most archaic motifs, as the most conservative and traditional element of the population. The general opening ceremonies of the heroic epics of the Turkic-Mongolian peoples about the creation of the world were probably included in the texts of Olonkho during the golden age of the Xiongnu (Hun) community. Starting from the XII century, there is an increase in Mongolian influence, which is evident from the presence of Mongolisms in the Olonkho language and the emergence of anthroponyms of Buryat-Mongolian origin of the XI-XVII centuries. Conclusions. The emergence of Olonkho is probably associated with the period of influence of the Xiongnu on the inhabitants of the Middle Lena, material traces of which are observed in the period from 190 BC to the III-IV centuries.

Семейные ценности якутского народа в эпосе олонхо

The article analyses the system of the national fund containing family moral values of the Yakut people reflected in its epic heritage. The purpose of the study is to provide an insight into essence and philosophical, ideological and moral content of traditions and customs established in the Yakut families. The research is novel in that it considers ancestral experience through the value worldview introducing a wide range of the Olonkho texts from the epic fund into the source base. The attainted results have confirmed universal nature of family values represented in the people’s epic heritage.

МОТИВ УНИЧТОЖЕНИЯ ЧУДОВИЩА АБААСЫ В ЯКУТСКОМ ОЛОНХО В СРАВНИТЕЛЬНОМ АНАЛИЗЕ С БУРЯТСКИМ ЭПОСОМ

Рассматривается мотив уничтожения чудовища абаасы якутского олонхо в сравнительном анализе с бурятским улигером. Якутским материалом послужили тексты олонхо, опубликованные в «Образцах народной литературы якутов» Э. К. Пекарского (1907-1918). Бурятским источником были выбраны разные версии улигера «Гэсэр», изданные в 1960-1968 гг. Сюжет поединка героя со своим противником является кульминационным моментом в содержании обоих эпосов. Разумеется, главный герой всегда побеждает антагониста, ведь в этом и смысл героического эпоса. Мотивный фонд с описанием уничтожения врага является таким же кардинальным, как и мотив поединка. Смертельно опасный враг погибает от рук главного героя олонхо, но полностью не уничтоженное мертвое тело вновь оживает, продолжая творить зло и хаос. Известными исследователями тюрко-монгольского фольклора отмечены общие черты олонхо и улигера (В. М. Жирмунский, Е. М. Мелетинский, С. Ю. Неклюдов, И. В. Пухов, Г. У. Эргис, В. В. Илларионов и др.). Сравнительные работы в сфере тюрко-монгольской фольклористики продолжают вызывать интерес и требуют исследования с разных сторон. Сопоставительное изучение мотива уничтожения чудовищ якутского и бурятского эпосов еще не проводилось. Целью исследования является определение мотива уничтожения врагов героя якутского олонхо с описанием сходств и различий с бурятским эпосом. В работе использована методология текстологического анализа с применением описательного и сравнительного методов. Автором выявляется несколько общих моментов в исследуемом мотиве: способы сожжения трупа; воскрешение чудовища от останков тел; способ захоронения коня вместе с чудовищем. Победа главного героя и уничтожение чудовища показывает идею справедливости, превосходства добра над злом, светлой силы над темной. А в способности чудовища абаасы быть бессмертным заложена философская идея вечной борьбы добра и зла, которая остается неизменной и по сей день. Схожесть мотивов якутского и бурятского эпосов способствовала решению расширить исследовательский материал, привлечь эпические тексты других тюрко-монгольских народов. The motif of destruction of the monster-abaasy of Yakut olonkho in comparative analysis with Buryat uliger is considered. The Yakut material was the texts of olonkho, published in Samples of folk literature of Yakuts by E. K. Pekarsky (1907-1918). The Buryat source chose different versions of the street Geser, published in 1960-1968. The plot of the fight between the hero and his opponent is the culmination of the content of both olonkho. Of course, the main character always wins the antagonist, because this is the meaning of the heroic epic. The motif fund with the description of the enemy's destruction is as cardinal as the motif of the fight. The mortally dangerous enemy dies at the hands of the main character olonkho, and a completely undestroyed dead body comes to life, continuing to create evil and chaos. Famous researchers of Turkic-Mongolian folklore noted common features of olonkho and uliger (V. M. Zhirmunsky, E. M. Meletinsky, S. Yu. Neklyudov, I. V. Pukhov, G. U. Ergis, V. V. Illarionov, etc.). But comparative works in the field of Turkic-Mongolian folklore continue to arouse interest and require research from different sides. Study of the motif of destruction of monsters of the Yakut and Buryat epic has not yet been conducted. The aim of the research is to determine the motif of destruction of enemies of the Yakut olonkho hero, as well as to describe similarities and differences with the Buryat epic. The work uses the methodology of textological analysis using descriptive and comparative methods. The author reveals several general points in the studied motif: methods of burning the corpse; resurrection of the monster from the remains of bodies; method of burying the horse together with the monster. The victory of the main character and the destruction of the monster shows the idea of triumph of justice, the supremacy of good over evil, light power over dark. And in the beast's ability to be immortal is the philosophical idea of the eternal struggle of good and evil, which remains unchanged to this day. The similarity of motifs of Yakut and Buryat epics contributed to the decision to expand the research material and attract epic texts of other Turkic-Mongolian peoples.